I've been a dweller on the plains, have sighed when summer days were gone; No more I'll sigh; for winter here Hath gladsome gardens of his own.
For me, failure has to be acknowledged, needs to be faced in some way.
I know that in some ways I operate from a kind of antiquated interest in imagery, while many contemporary poets are not so interested in imagery. I think part of it is my training, and just my visual sense of things.
I'm really interested in what you remember, how you remember, what your perspective is as opposed to somebody else's.
I can't move my body slowly. I can't move the line slowly. So I end up with way too much, often opaque to me later.
I spend a lot of time revising. I'm not somebody who can move slowly.
I can't remember the past, or I can't see very clearly, or I've gotten older and the person I was isn't there anymore, and the place I grew up isn't where I live now.
What a surprise to find you could shift the contents of your head like rearranging furniture in a room.
Absence is the dark-room in which lovers develop negatives.
I think people were a little nervous to work with me to start with, because the movies I've done they thought that I wouldn't be able to control myself at all. I'd have to blow up the cars or something like that, and I think also people are scared of working sometimes with feature directors, because they feel like you're not going to listen to their opinions.
I see battlefields that are under 24-hour real or near-real time surveillance of all types. I see battlefields on which we can destroy anything we can locate through instant communications and almost instantaneous application of highly lethal firepower.