Touring has been a new part of my life in a lot of ways. We've just been touring massively since the record came out and before. Learning how to write while all that is going on is a new thing.
Why do I write books? Why do I think? Why should I be passionate? Because things could be different, they could be made better.
I'll write and make chords with my voice sometimes if I don't have an instrument even though it takes a million times longer.
Every show is unique; some shows have the master plan and have everything figured out and that's just the way they do things. It's like high school. Some people write their papers the second they get their assignments, and some people write it the day after it's due.
Most of my music theory knowledge is based on piano. But I write on guitar a lot, too. I'm not a great guitar player by any means. I'm not a great instrumentalist. I play piano on stage. I don't play guitar on stage, but I use it to write quite a lot.
I've been writing music since I was about eight. I would write sporadically. I wrote a lot of music in high school. I guess the oldest song on the record ("I Thought I Saw Your Face") is about eight years old. It's the old "I had my whole life to write my first album and six months to write the second one." I did, to some degree, but actually, a lot of the songs that ended up on the record, I wrote really recently. So it varies.
It's very much a piece of myself when I write a song. I don't mean to say it's very personal, like the lyrics mean something personal to me. When I write a song, that's my taste in music - my taste in chord progressions and melodies.
I was writing tons of music in my spare time. I might be on location somewhere, and I'd go home and I'd have my guitar and my little keyboard or something and write music. Or if I was at home, on my piano. I've always been a late bloomer with a lot of things, just in general, so I think this was something that needed to come to fruition in this particular way.
The only reason I would write a break-up song is because my own problem of allowing myself to relate to people.
I'm not a writer. I'm not smart. I couldn't possibly even write my own story.
Every time an adult is going to write something for a teenager and you don't have, physically, a person who is that, you are always going to be a little off.
Writing becomes a really good creative outlet when you're sitting there and feeling creatively frustrated or stilted, but also you then get to write parts for yourself.
I like photography and I write; I also write music. One day I would like to direct [films] as well.
Anytime that I've felt uninspired, I don't force myself to sit down and write. I only do it when I feel the impulse.
I have a lot more writing experience than Paul Dano has, so to be able to put that experience to use in exercising his vision was almost an acting exercise: How would I write if I were Paul? When I look at it, it feels so completely his, but it's also mine.
I think from my earliest childhood, I liked to tell stories, put on plays and write things. It's funny to think of it as an "artistic bug" because I didn't necessarily want to be an artist. It's just who I was and how I communicate.
I don't write books for people to be friends with the characters. If you want to find friends, go to a cocktail party.
Education is not simply to learn to read and write. It's emancipation. It makes you free.
There have been studies concluding that most people mostly know people only within their own social class - although such a conclusion would hardly surprise anyone. I think there's evidence to suggest that it's even narrower - the great majority of friends of Ivy Leaguers, for instance, are Ivy Leaguers. This narrows the pool of people who can write fiction cutting across class boundaries that's informed by their own personal experience.
Experience belongs to the actor, but the story belongs to the teller. We write so we will never forget.
Until I reached my late teens, there was not enough money for luxuries - a holiday, a car, or a computer. I learned how to program a computer, in fact, by reading a book. I used to write down programs in a notebook and a few years later when we were able to buy a computer, I typed in my programs to see if they worked. They did. I was lucky.
Creativity is essential to any kind of joyful living. Sometimes I act, sometimes I draw, I paint, I write poems. I can't imagine living without it.
Much of my inspiration definitely comes from the human experience. I'm really inspired by love like a lot of people are. My art, my childhood, and changes and transitions in life and how they impact me and cause me to write music.
Write a list of ways that you have benefited from being married to your spouse. Then write a list of your spouse's positive patterns and qualities. Keep adding to the lists and reread them frequently.
I wish I could write a beautiful book to break those hearts that are soon to cease to exist: a book of faith and small neat worlds and of people who live by the philosophies of popular songs.
I usually write my music on a piano, and I really enjoy performing that way, because that actually shows how the music was in my mind before it actually became an electronic song.
I could write a treatise on the sudden transformation of life into archaeology
I can write best in the silence and solitude of the night, when everyone has retired.
I love my work but do not know how I write it.
I write in a pretty straightforward way. I kind of sit down at page one and start writing.
In the Making Of book ["300"] there's a guy named Victor Davis Hanson who is a a frickin genius. He's a Greek historian and we showed him the movie because I wanted him to write a forward to the Making Of book. I was a little nervous to be honest, because I wasn't sure how he'd react.
Natalie Lyalin is writing some of the best poems in the world. There is an evil in her gorgeous poem-hearts. She must have sold her heart to the devil to write like this-so beautiful, so funny and so strange. Her images stack and stack down the page without spilling, each line such a bombshell you'll start reading backward to the first line. These poems are like babies-they will pop out of trees.
In hindsight, I must have been looking for a way to write about Jewishness that somehow managed to minimize irony and self-deprecation.
What's invaluable about actually going to the places you want to write about are the random accidental things that happen. Random, accidental detail is the best way to make a setting convincing. You can of course invent your own random details, and sometimes I will also mash up real incidents.
The music starts as being way separate from the lyrics, and I write - I have notebooks that I fill with drawings and just words, and stuff that I've written.
It's this funny thing now: You sign up to be a musician because you want to write music, but you don't spend your time writing music. Instead, you go around the world selling the music you've already made.
There's all these people involved, and it becomes this huge machine - it stops being just me making my own little songs for myself, or for the world. And it's hard to stop the machine. If you want to take time to write a record, they're like, "OK, tour through March, April, and June, then you can take a few weeks off to record in July before getting back on the road for the European festival circuit." After a while, I had to put my foot down.
You write things that are of interest to you. There's no focus group.
I have a 60-acre farm in North Carolina, and I have a tractor and a farmhouse. As soon as I groom the land, I want to put cabins around and have a place where people can write and hang out. It'll be either that or an all-black nudist colony.
I try to write three jokes every day. I don't sit down and write them, it's just things that pop into my head. Then I'll go watch it fail onstage that night.