Many artists use their own lives as a kind of case study to examine what it's like to be human.
The poetic image exists apart from causality.
Love is never finished expressing itself, and it expresses itself better the more poetically it is dreamed.
The reverie we intend to study is poetic reverie. This is a reverie which poetry puts on the right track, the track an expanding consciousness follows. This reverie is written, or, at least, promises to be written. It is already facing the great universe of the blank page. Then images begin to compose and fall into place.
The human being taken in his profound reality as well as in his great tension of becoming is a divided being, a being which divides again, having permitted himself the illusion of unity for barely an instant. He divides and then reunites.
Childhood lasts all through life. It returns to animate broad sections of adult life. . . . Poets will help us to find this living childhood within us, this permanent, durable immobile world.
A word is a bud attempting to become a twig. How can one not dream while writing? It is the pen which dreams. The blank page gives the right to dream.
I had to get used to wearing a mask and wearing a prosthetic and performing with those things while singing and expressing myself through stylized movement, while keeping it as human as possible so the audience could be closer to the horror of the Phantom.
The way the housing market imploded is obviously not an easy thing to explain. It's a little bit easier in a book - people can take their time, you can sort of go back and reread - but in a movie you've got two hours to not only explain things like collateralized debt obligations, but you also have to make it entertaining.
At times I come across works of mine which are soundly done and really in my style, and at such moments I find great solace.
The era of the rugged individual is giving way to the era of the team player.