Quotes About Process

I don't think you can figure this stuff out. If you could figure all this stuff out, then all the great filmmakers would come out of Yale and Harvard. It's not an intellectual process.

I write longhand; I make changes longhand, and I have an assistant who types it up. She lives 70 yards away. Every afternoon, I have a case I leave out on the porch, and she brings it back the next morning.

The post area I had to unlearn. And yeah, now it's a relearning process. It's different. It's learning what works and what doesn't work.

Yeah, writers do hate writing.

It's a wonderful profession, and it opens lots of doors, and I think it's quite right that people can accuse actors and actresses of being dilettante, but you learn on every job, whatever it is, the process moves you on in some way, and yeah, I want to expand my knowledge of our existence, I suppose.

Yeah, I record on voice memos. I got like 1,000-something memos. If I'm in the middle of something and I can't get it done, I'll jot it down, but I never write a rap out, ever.

'House of Balloons' was special because I had no deadlines, and nobody knew me, so there were no expectations. Spent a year making it perfect. Every song had at least, like, 7 different versions to them before picking the right one.

After I finish any film, I move to the next one. It takes about a year to write and another six months are for pre-production and other things. You need a minimum of two-and-a-half months for the shooting of a new film. Then, I also edit my own film.

A novel usually takes me two years. A year to research and plan and dream. Then a year to write.

I was in high school. A couple of my friends and I decided we had to be in a class together where we could fool around, and drama was it because we'd do improvs, beating each other up. They left a year later, and I stayed in and got a knack for it, and enjoyed the whole process.

With all editing, no matter how sensitive - and I've been very lucky here - I react sulkily at first, but then I settle down and get on with it, and a year later I have my book in my hand.

We are glorious accidents of an unpredictable process with no drive to complexity, not the expected results of evolutionary principles that yearn to produce a creature capable of understanding the mode of its own necessary construction.

Migration isn't a one-directional process; it's a colossal process that has been happening in all directions for thousands of years.

The earth is bountiful, and where her bounty fails, nitrogen drawn from the air will refertilize her womb. I developed a process for this purpose in 1900. It was perfected fourteen years later under the stress of war by German chemists.

I never finished the 'Large Glass' because, after working on it for eight years, I probably got interested in something else; also, I was tired. It may be that, subconsciously, I never intended to finish it because the word 'finish' implies an acceptance of traditional methods and all the paraphernalia that accompany them.

I think there's a fine, healthy tradition of, you know, the people on the fringes satirizing the process of Hollywood.

With my dad coming from a theatre tradition, there was a lot of preparation before auditions. Not just in terms of saying the lines correctly but a process of entering into what it was all about.

Often, particularly towards the end of the process, I think of myself less as a theatre director and more as someone who just directs the traffic. My job is to move the ideas and bits of the show into the places where they work best. Sometimes my job is also to say, 'No.'

I feel like humor and tragedy are all on the same coin, and it's all a part of the same process as humans as we assimilate reality.

We all have to go through our own spiritual process. It is very difficult. Some people are struggling and they are in their teens. Some people are in their 50s and they're struggling. Some people go through life and die not being able to accept themselves. Tragic. But it's very individual. And it's about self-esteem.

Making a movie is a network of decisions that keep multiplying as you go. You leave a trail of decisions behind you, and that's how you start to see the shape of what you've done. When you get far enough, you turn around and say, 'Ha, that's the movie.' It's only then that you find out if it's going to work or not.

There is a palpable sense of history in the homes that I choose to occupy. I think that's one of the reasons I gravitate towards old homes: I really like that sense of history and that sense that I am one step in a very long process that trails out in both directions around me - before me and ahead of me.

Rap is something you can just throw on the skillet and fry up real quick. That's how it comes to me, my train of thought. It's like getting dressed - I don't have to sit down and stare at clothes, I just pick what I like and put it on. But rock, you gotta put it in the oven and let it bake.

It is people who are the objects of globalization and at the same time its subjects. What also follows logically from this is that globalization is not a law of nature, but rather a process set in train by people.