Obedience is better than sacrifice.
Ordinary people think that talent must be always on its own level and that it arises every morning like the sun, rested and refreshed, ready to draw from the same storehouse -- always open, always full, always abundant -- new treasures that it will heap up on those of the day before; such people are unaware that, as in the case of all mortal things, talent has its increase and decrease, and that independently of the career it takes, like everything that breathes... it undergoes all the accidents of health, of sickness, and of the dispositions of the soul -- its gaiety or its sadness. As with our perishable flesh. talent is obliged constantly to keep guard over itself, to combat, and to keep perpetually on the alert amid the obstacles that witness the exercise of its singular power.
Mediocre people have an answer for everything and are astonished at nothing. They always want to have the air of knowing better than you what you are going to tell them; when, in their turn, they begin to speak, they repeat to you with the greatest confidence, as if dealing with their own property, the things that they have heard you say yourself at some other place. A capable and superior look is the natural accompaniment of this type of character.
I mean, I love L.A. - I love living here. But I wish that we could make things without the need to hit a home run every single time. It's a unique thing to Hollywood that if you don't do that every time, then you're considered a failure. But it's like, 'Well, are you making movies to be successful? Or are you making movies to learn something?'
People stress the violence. That's the smallest part of it. Football is brutal only from a distance. In the middle of it there's a calm, a tranquility. The players accept pain. There's a sense of order even at the end of a running play with bodies strewn everywhere. When the systems interlock, there's a satisfaction to the game that can't be duplicated. There's a harmony.
America is the world's living myth. There's no sense of wrong when you kill an American or blame America for some local disaster. This is our function, to be character types, to embody recurring themes that people can use to comfort themselves, justify themselves and so on. We're here to accommodate. Whatever people need, we provide. A myth is a useful thing.
In this century the writer has carried on a conversation with madness. We might almost say of the twentieth-century writer that he aspires to madness. Some have made it, of course, and they hold special places in our regard. To a writer, madness is a final distillation of self, a final editing down. It's the drowning out of false voices.