The Millions Interview Archives - Page 14 of 24 - The Millions
October 22, 2012
by Paul Morton
Depression fucking sucks, dude. Depression sucks. And part of you thinks, “Well if I have to deal with being fucking depressed, I’ll figure out some way to make some art out of it.”
October 18, 2012
People do all kinds of unexpected things in these transitional times of their lives. And they don’t need to be sorry for it, because it is part of being human, and it isn’t about being a good person or a bad person. I think just telling the truth of that is kind of important and revolutionary.
October 15, 2012
When asked about what kind of kid he thought The Fifty Year Sword has become, Danielewski was quick to answer, “He’s the little infidel, the little kid who’s going to do what he wants. He’s vicious. He’s Chucky.”
October 11, 2012
by Paul Morton
She made me talk about why I felt I could never make anyone care about these people the way I cared about them. She made me realize I just had to keep on doing my reporting. Obviously, it was late for those children, but if I could investigate and document a little better, maybe some attention would be paid.
October 10, 2012
by Lisa Levy
For the record no serious critic goes into a job planning to do a takedown. All I heard about Mad Men was that it was great…I sat in my bedroom watching with a good friend of mine and we looked at each other after three episodes and I said, “The love is not happening.” Then it becomes interesting.
September 20, 2012
by Bill Morris
So many of us had collections of short stories we read in seventh grade as an introduction to fiction. We were never taught the short story as a unique form. It was an introduction to longer forms. This book was really about looking at what makes a short story such a distinct discipline.
September 19, 2012
The fact that there is so much of Bach’s music, and so many recordings, means that you know from the start that you are never going to hear it all, even if you live to be 100. There’s always going to be a freshly rearranged cantata, or another new recording. So as a writer you know you have to cover all the important works and let other pieces fill themselves in.
September 14, 2012
by Paul Morton
Every time you draw something, much like acting, you have to get into the role on some level of what that person is thinking or feeling. It’s easier to draw a sadist. The more difficult thing is to draw ordinary people doing atrocious things.
September 10, 2012
It’s not really that David had any answers for people. But he never stops taking his life seriously and he never stops taking the reader’s life seriously. And I think that’s the connection: you never stop mattering to him and he never stops mattering to himself.
September 7, 2012
by Liza Monroy
Columbia’s bureaucracy got weird when they found out I was a convicted felon. I lost my three campus jobs. You’re basically fighting against a system.