Best 128 quotes in «interview quotes» category

His office was a spider’s lair of silver thread and tempting promises, a page out of Power Architecture Magazine. The dean copied the design from President Lyndon Johnson’s old senate office. The room narrowed toward his desk, an architectural device that channeled all eyes toward the dean, and his chair was slightly elevated, forcing visitors to look up. The two visitors’ chairs were both lowered and oversized, making each guest feel like a child, swimming in too much chair. His architect had assured him it was a subliminal masterpiece.

How did I discover saccharin? Well, it was partly by accident and partly by study. I had worked a long time on the compound radicals and substitution products of coal tar... One evening I was so interested in my laboratory that I forgot about my supper till quite late, and then rushed off for a meal without stopping to wash my hands. I sat down, broke a piece of bread, and put it to my lips. It tasted unspeakably sweet. I did not ask why it was so, probably because I thought it was some cake or sweetmeat. I rinsed my mouth with water, and dried my moustache with my napkin, when, to my surprise the napkin tasted sweeter than the bread. Then I was puzzled. I again raised my goblet, and, as fortune would have it, applied my mouth where my fingers had touched it before. The water seemed syrup. It flashed on me that I was the cause of the singular universal sweetness, and I accordingly tasted the end of my thumb, and found it surpassed any confectionery I had ever eaten. I saw the whole thing at once. I had discovered some coal tar substance which out-sugared sugar. I dropped my dinner, and ran back to the laboratory. There, in my excitement, I tasted the contents of every beaker and evaporating dish on the table.

I also often ask my guests about what they consider to be their invisible weaknesses and shortcomings. I do this because these are the characteristics that define us no less than our strengths. What we feel sets us apart from other people is often the thing that shapes us as individuals. This may be especially true of writers and actors, many of whom first started to develop their observational skills as a result of being sidelined from typical childhood or adolescent activities because of an infirmity or a feeling of not fitting in. Or so I’ve come to believe from talking to so many writers and actors over the years.

I born & rised in the Mahabharat Family (states) country Republic of Bangladesh which is also under British Commonwealth royal throne and in the China Belt-Road regions. So it is very influencing of my writing due the Great Bharat history, culture, society and practice of life & livelihood together .

I am not gay, although I wish I were, just to piss off homophobes.

I believe the visionaries and true reflections of society will be rewarded after their lives. Those being rewarded now are giving the public what it needs now, usually applauding its current state and clearing consciences.

I consider myself a Nordic author. But I do not know exactly what that is. I think it has something to do with time, landscapes, weather and language: a slow melancholic attitude, interrupted by dramatic emotions, like a stone in water.

I cannot separate the aesthetic pleasure of seeing a butterfly and the scientific pleasure of knowing what it is.

I did Barbie’s dream as a one-off thing, but I found it haunting me; I kept having an image in my head of Martin Tenbones getting killed in real New York. Still, that would’ve been the end of it...except, by a wild coincidence, a short time later I received a postcard from Jonathan Carroll. He wrote that he’d been following my graphic novel Signal to Noise—which was being serialized in The Face magazine at the time—and he was finding a number of very scary similarities between my story and his as yet unpublished novel, A Child Across the Sky. He concluded, “We’re like two radio sets tuned to the same goofy channel.” I wrote back and said, “I think you’re right. What’s more, I abandoned a whole storyline after reading Bones of the Moon, but I keep thinking I ought to return to it.” Jonathan then sent me a wonderful letter with this advice: “Go to it, man. Ezra Pound said that every story has already been written. The purpose of a good writer is to write it new. I would very much like to see a Gaiman approach to that kind of story.” With that encouragement, I began creating A Game of You.

I'd be stunned, shocked, and amazed if there were a human being on the planet in 2030.

I’d like to see more stand-up routines venture into depicting tragedy. It’s conventional to give people a humorous cathartic release; now I’d love to hear stand-up tragedy that would reduce the audience to exhausted tears.

If someone out of work knows only three words about their impending job-hunt, I’m willing to bet those three words will be: resumes/CV, interviews, and networking.

I don't accept the currently fashionable assertion that any view is automatically as worthy of respect as any equal and opposite view. My view is that the moon is made of rock. If someone says to me 'Well, you haven't been there, have you? You haven't seen it for yourself, so my view that it is made of Norwegian Beaver Cheese is equally valid' - then I can't even be bothered to argue. There is such a thing as the burden of proof, and in the case of god, as in the case of the composition of the moon, this has shifted radically. God used to be the best explanation we'd got, and we've now got vastly better ones. God is no longer an explanation of anything, but has instead become something that would itself need an insurmountable amount of explaining. So I don't think that being convinced that there is no god is as irrational or arrogant a point of view as belief that there is. I don't think the matter calls for even-handedness at all.

If heaven really exists: then heaven is the job, hell is unemployment, while life is merely an interview.

I find it’s more fun to write about something that you don’t know completely and that you will discover on route. A dear friend of mine...once said: 'The only time I know anything is when it comes to me at the point of my pen.' So I think that if you start to write about things that you know half well, that you’re fascinated by, that you sense you have an appreciation of that others might not have, but you do have to acquire the knowledge as you go, you discover a great many things at the point of a pen. And it keeps the writing alive in itself in a way. (in an interview with Martin Amis, 1991, see YouTube)

If someone wanted to be a runner, you don't tell them to think about running, you tell them to run. And the same simple idea applies to writing, I hope.

I had an interview once with some German journalist—some horrible, ugly woman. It was in the early days after the communists—maybe a week after—and she wore a yellow sweater that was kind of see-through. She had huge tits and a huge black bra, and she said to me, ‘It’s impolite; remove your glasses.’ I said, ‘Do I ask you to remove your bra?

I had a really good teacher back in the '80s. He used to teach about writing focused on character. His concept was that each character has to have an agenda, and you need to know what they want and what they're willing to do to get it. So I build characters from that agenda, and I try to be mindful of it throughout the story. It makes the characters more real, and it informs every bit of dialogue. There's always a subtext, whether the reader knows it or even whether the character knows it. But I know it…that's the thing.

I knew that my trauma, no matter what it was, was not unique. I knew that pain was the universal driving force of so many people—I knew that only in the details was it specific, and I just found it urgent to cut right to the chase and get right to the point.

I hope to offer the personal as a way to connect to the universal, not a claim for one universal experience of having breasts, but a universal hope for kindness—to each other and our selves and our bodies.

I hate the concept of likeability—it gave us two terms of George Bush, whom a plurality of voters wanted to have a beer with, and Facebook. You’d unfriend a lot of people if you knew them as intimately and unsparingly as a good novel would. But not the ones you actually love.

I hope you remember that if you encounter an obstacle on the road, don’t think of it as an obstacle at all… think of it as a challenge to find a new path on the road less traveled.

I know I will always be attracted to the unknown as it does often verify what I am or what else I could be.

I'm a pretty clean eater, so my beard probably just smells like the blood of my enemies, as usual.

I’m always reading books—as many as there are. I ration myself on them so that I’ll always be in supply.

In a sense, I am a moralist, insofar as I believe that one of the tasks, one of the meanings of human existence—the source of human freedom—is never to accept anything as definitive, untouchable, obvious, or immobile. No aspect of reality should be allowed to become a definitive and inhuman law for us. We have to rise up against all forms of power—but not just power in the narrow sense of the word, referring to the power of a government or of one social group over another: these are only a few particular instances of power. Power is anything that tends to render immobile and untouchable those things that are offered to us as real, as true, as good

...I never once believed what they wanted us to believe - that we as black people are inferior to whites...

In Uganda, I wrote a questionaire that I had my research assistants give; on it, I asked about the embalasassa, a speckled lizard said to be poisonous and to have been sent by Prime minsister Milton Obote to kill Baganda in the late 1960s. It is not poisonous and was no more common in the 1960s than it had been in previous decades, as Makerere University science professors announced on the radio and stated in print… I wrote the question, What is the difference between basimamoto and embalasassa? Anyone who knows anything about the Bantu language—myself included—would know the answer was contained in the question: humans and reptiles are different living things and belong to different noun classes… A few of my informants corrected my ignorance… but many, many more ignored the translation in my question and moved beyond it to address the history of the constructs of firemen and poisonous lizards without the slightest hesitation. They disregarded language to engage in a discussion of events… My point is not about the truth of the embalasassa story… but rather that the labeling of one thing as ‘true’ and the other as ‘fictive’ or ‘metaphorical’—all the usual polite academic terms for false—may eclipse all the intricate ways in which people use social truths to talk about the past. Moreover, chronological contradictions may foreground the fuzziness of certain ideas and policies, and that fuzziness may be more accurate than any exact historical reconstruction… Whether the story of the poisionous embalasassa was real was hardly the issue; there was a real, harmless lizard and there was a real time when people in and around Kampala feared the embalasassa. They feared it in part because of beliefs about lizards, but mainly what frightened people was their fear of their government and the lengths to which it would go to harm them. The confusions and the misunderstandings show what is important; knowledge about the actual lizard would not.

I published & marketed few books through Lulu Press and it’s good for a complete new self-publishing author/writer to understand the global eBook & Paperback Publishing platforms for their books marketing techniques purpose.

I read poetry, song lyrics, stories, history, novel and any books I found interesting to read included religious scriptures, political science, life science and biography & life history of scholars, noble persons, litterateurs & scientists.

I take the view with all job interviews that I am practicing for my future successful job interview.

I think it’s vital. It’s odd to me because many people say we live in these awful times and we need culture and art especially in times like these, in these dire times. Well, first of all, I don’t think these times are more dire than other times. People who say that just need to go back and read Herodotus, read any book of history, read a biography of Attila the Hun. If people are going to wring their hands over these troubled times, I would think that humor should be indispensable. I find it strange that –at least in my take on it—the people who are the most alarmed about the dire times we live in are the ones who seem to be humorless, in their taste for poetry anyway. Humor is just an ingredient.

I think I have many spenglerian moods about the country, and that some day people will look back and think 'this was a really goofy, unadmirable stupid time.

I think sometimes in literature we kind of police ourselves. I know a lot of people talked about Twilight, and they would say, oh, but the heroine, she lets this man make her decisions. And I thought, that may not be the particular fantasy or trope that works for me. But listen man, I read Wuthering Heights. I wanted me a little Heathcliff action. I mean, why can't we indulge that fantasy and also be like, “And now I would like the ERA passed, please. Also, this lipstick is fuckin' killer.

I think people should take mythology much more seriously, because it tells us an awful lot about the history of the human race. We tend to dismiss it as 'fairy tales,' when it isn't. Fairy tales in themselves are about fundamentals of human nature. And they keep being reinvented in different ways. Fantasy acknowledges that, whereas a lot of modern literature is trying to distance itself from 'story,' never mind anything else. Which is why a lot of books are read by the critics, then people buy them, put them on their shelves, and don't really read them much, because they're not very interesting!

I think you're like a man who loses an arm or a leg and keeps insisting that he can feel pain where the arm or leg used to be.

It's still strange.

[It's Not About You, Mr. Santa Claus,] is a fun read and a twist on Christmas, because it does involve Santa Claus and Jesus, and it doesn’t say that Santa Claus is bad, but it’s the child explaining to Santa Claus the true reason for the season is Jesus.

I've never been drawn to the feminist movement. I've never been put down by a man, unless I deserved it, and have never felt inferior.

I used to take my morning tea at her kiosk and I took an interest in what she was doing. I later learnt she was taking care of her grandchildren. Sadly, she was taken ill and had to close her nylon-walled smoky shack. But all the wit and cunning of the character came from her.

Literature is literature. Its purpose is to challenge and disorient us, to break us down a little bit so that we are forced to rebuild ourselves. Over time, over the course of many books, we construct a deeper, truer self.

I was born very far from where I'm supposed to be, and so I'm on my way home.

Madonna has no equal at getting attention. She often seems to behave like someone who has been under severe restraint and can now say and do whatever she likes without fear of reprisal. She delights in being challenged, in telling more than she planned, in going further than she had intended. She will answer any question because she is genuinely interested in her own reply. A conversation or an interview then can become an opportunity for self-discovery, or just discovery. It's a hearty mix of self-consciousness and self-confidence. It's a type of courage, this free fall into the perplexing public now.

Most of most politicians’ answers are long-winded implicit ways of saying: ‘I don’t know’ or ‘I don’t want you to know’.

My thoughts about pornography tend to revolve around the fact that while very few of us are zombies, detectives, cowboys, or spacemen, there are an infinite number of books that are recounting the stories of those lifestyles. However, all of us have some sort of feelings or opinions about sex. And yet the only art form which in any way is able to discuss sex, or depict sex, is this grubby despised under the counter art form, which has absolutely no standards. This was what Lost Girls was intended as a remedy for, that there is no reason why a horny piece of literature, that is purely about sex, could not be as beautiful, as meaningful, and have as absorbing characters as any other piece of fiction.

No, there is plenty wrong with Negroes. They have no society. They’re robots, automatons. No minds of their own. I hate to say that about us, but it’s the truth. They are a black body with a white brain.

No les interesa la pintura. Catherine Guinness [véase Introducción] no se puso pesada hasta el último día, cuando empezó con esa cosa tan fastidiosa que hacen los ingleses de preguntar y preguntar: «¿Qué es exactamente el pop art?». Era como cuando entrevistamos a ese chico del blues, Albert King, para Interview, y ella le preguntó: «¿Qué es exactamente el soul?».

Nearly everything I do is independent. It's my nature, what being fiercely independent. And publishing my written works of literature under my own imprint—Quill Pen Ink Publishing—is no different. ("Smashwords," 2018)

New thing is made in writting books, (novels, short stories... stories...)... It's to be build a character which you will love you will like him.... and one moment he dies... isn't it awesome?

On dit père grec, mère suisse-française... On me demande, mais alors, quelle est votre patrie? Je dis que je ne suis ni tout à fait d'ici, ni tout à fait de là-bas. Ma patrie, c'est la relation. La relation est une réalité vitale. Parce qu'elle porte en elle le sens de l'autre. Pour la vie personnelle, et pour la vie collective - surtout aujourd'hui où les mentalités à cause des rapidités de communications coexistent -, si on n'a pas le sens de l'autre on a de la peine à vivre. (Le Temps, 17 Août 2007)