Ultimately, the first, best step in getting your work noticed is to write good work. If people don't engage in your writing, no amount of serialization or free downloads is going to matter. You have to write something worth reading, and often it takes time to get at that level.
The thing with newspapers is that they are a filter. We're relying on the editors of that paper to be a filter and to tell you that this is worth reading about, this is quality, and this is quite reliable.
I think, as directors, they may recognize, more than the rest of the body of filmmakers, exactly what you do as a director, because I think sometimes the conception is if the camera isn't swinging around, and it's not pyrotechnic or worthily melodramatic, then the direction is uninvolved.
There's no prerequisites to worthiness. You're born worthy, and I think that's a message a lot of women need to hear.
Don't take for granted that the worthiness of your cause will win you allies; bring it down to a scale that people can relate to.
You must realize that one day you will die. Until then you are worthless.
I have always said that after sport, I wanted a life, I wanted an opportunity, I wanted to be able to do something. And if something happens - the economy falls out or the dollar is worthless, anything could happen - you have to be ready to work. And I'm ready.
The will to win is worthless if you don't get paid for it.
I don't understand why there needs to be a love interest to make women go see a film. I think society sort of makes us feel that way - that if you don't have a guy, you're worthless.
On the mountains mistakes are fatal. In politics, mistakes are wounding emotionally, but you recover. Personally, wilderness helps me get back in touch with natural rhythms, helps me reflect and, in the process, restore my creativity.
Tobias Wolff is a hell of a writer, but you knew that already. His first memoir, 'This Boy's Life,' was a Huck Finn story set in the Eisenhower era - a story so rich and wounding that not even Hollywood could make a bad movie out of it.
For a song cycle to work, you have to feel these things when you hear them and you either have an emotional reaction to it or you don't. The plotline is something that gets woven together in the back-story.
I think I was about 14 when I did my first makeup. I was like, 'Wow, I really like this what do you call it? Makeup thing?'
A lot of kids get disappointed. They expect me to be, like, 'Bwaah.' 'If I spend a minute with them, they end up saying, 'Wow, you're a nice, normal guy.' They hate it when they catch me out of my makeup.
What do you spend $200 million on, with a film? I can't wrap my brain around that one.
We've got guys who aren't wrapping guys up... No matter how hard you hit them, you've still got to wrap them up.
If you want to get across an idea, wrap it up in person.
When people find out that I've written 208 novels, they ask, 'How did you think of all that?' Well, I answer, 'How do you not think of it?' I see a gum wrapper on the ground, and I think, 'Oh, a Russian spy probably dropped that.' I just think like that, and those thoughts go through my mind constantly.
People set newspapers on fire; they use them for wrapping fish. The Internet does not have that property. What I don't think we've gotten is that you can make things last longer than in print.
You could think of extraordinary examples to the contrary: The Grapes of Wrath... and even into the 70s.
