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Down And Quotes

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Down And Quotes

“I think I became a better writer after I started writing for the New Yorker. Well, I know I did. And part of it was having my New Yorker editor and part of it is that was when I started really going on tour and reading things in front of an audience 30 times and then going back in the room and rewriting it and reading it and rewriting it. So you really get the rhythm of the sentences down and you really get the flow down and you get rid of stuff that's not important.”

“When you sit down and write a song, you kind of have the idea for the song, and you sit there at the piano and you kinda just write it. And then of course later there's some dinking around with it and changing some stuff. But there's this thing that happens when the song first comes out, that sort of magic when it first comes out of the ether, and you can't even really explain where it comes from. That happens so much with music, and people understand that with music. But I really think that a lot of movie and TV should be the same way.”

“Since I worked with Danny Boyle before on Slumdog Millionaire, we have great success and everything. So, when I first got the script and the screenplay of Simon (Beaufoy) and I was reading it, even before the shoot, some kind of sounds came into my mind and I put some stuff [down] and sent it to Danny when he was cutting the movie.”

“The reason that I'm here is that Patrick and I are partners and when crazy stuff comes our way we'll sit down and brainstorm and think around it just like we do when we're thinking about a scene. So, while the masters might not understand my being here, or at least they didn't at first, but they do now because we really are a partnership. If he's on set I'm on set.”

“For years, people always say, "Ah, what about the dunk. It's still two points." But it energizes a team. If you're down and you get a monster dunk, everybody gets psyched. "Oh yeah, let's go, let's go." So it was dying down a little bit and guys, I think, they took it upon themselves. They got energy on it and started trying different stuff.”

“I have the weirdest job. The hair and makeup people were talking the other day about how weird their job is. And costumes, they have to be in people's faces and have to reach in their skirts to pull their shirts down and stuff. I was like, "You guys, I meet someone, I shake their hand, and then I kiss them. And sober. During midday. For money."”

“In New Zealand we had this colossal squid, which was discovered just off the shores of New Zealand, between New Zealand and Antarctica back in 2003. It's the biggest squid ever found, and I know that there's things living down in the depths of the ocean that do explain the Kraken - you know, these giant things that people saw back in the day, that could take ships down - and so I know that there's stuff out there, and I like the idea that we haven't solved everything yet.”

“I can always be reminded how small I am when I try to surf a wave that's a little bit out of my league, and I just get pummeled. And, when your life flashes before your eyes kind of stuff, deep down under the water where you don't know what's up or down, and that kind of thing, or just Mother Nature reminding you how small you are compared to it. That's kind of the main thing for me.”

“Over a year before I started recording Salad Days, so I finally sat down and was like I have to do this. And it did feel like a chore. I was looking at it in a completely wrong way, trying to one up myself. Just the typical sophomore album bullshit. The main thing I got out of it is I eventually gave up on all that stuff. I had to re-learn why I liked making music in the first place, why I liked recording in my room all the time. Because it's fun. It's fun for me.”

“Who cares what the color means? How do you know what he meant to say? I mean, did he leave another book called "Symbolism in My Books?" If he didn't, then you could just be making all of this up. Does anyone really think this guy sat down and stuck all kinds of hidden meanings into his story? It's just a story.... But I think you are making all of this symbolism stuff up. I don't believe any of it.”

“The main courtyard was filled with warriors - mermen with fish tails from the waist down and human bodies from the waist up, except their skin was blue, which I'd never known before.Some were tending the wounded. Some were sharpening spears and swords. One passed us, swimming in a hurry. His eyes were bright green, like that stuff they put in glo-sticks, and his teeth were shark teeth. They don't show you stuff like that in "The Little Mermaid.”

“Do you remember that old TV series, Get Smart? Do you remember at the beginning where Maxwell Smart is walking down the secret corridor and there are all of those doors that open sideways, and upside down and gateways and stuff? I think that everyone keeps a whole bunch of doors just like this between themselves and the world. But when you're in love, all of your doors are open, and all of their doors are open. And you roller-skate down your halls together.”

“Wooo!’ he said, slamming his shot glass down and coughing a bit. ‘That’s good stuff.’ I agreed heartily. ‘Shall we do another one?’ I asked. ‘Oh no,’ Jesus said quietly, his eyes growing round. ‘This is one of those situations where I have to stop and ask myself, what would I do?”

“And you should hear the music. Incredible, amazing music, like nothing you've ever heard, music that almost takes your head off, you know? That makes you want to scream and jump up and down and break stuff and cry.”

“People look down on stuff like geography and meteorology, and not only because they're standing on one and being soaked by the other. They don't look quite like real science. But geography is only physics slowed down and with a few trees stuck on it, and meteorology is full of excitingly fashionable chaos and complexity. And summer isn't a time. It's a place as well. Summer is a moving creature and likes to go south for the winter.”