British Quotes

I was writing an earnest novel about cruises in the Caribbean and I just started writing 'Bridget Jones' to get some money, to finance this earnest work, and then I chucked it out.

I think that when you're writing fiction what you're doing is reflecting life as you see it, and putting down how you think and how other people think, and the sort of confusions that you don't normally like to admit to.

I like L.A. It's like a mini break. For a writer, it's hilarious. Like the food. Where I come from, we eat chip sandwiches: white bread, butter, tomato catsup and big fat french fries. It's delicious. Here, you order a creme caramel and the waiter says, 'You know, that contains dairy.'

I come from Yorkshire in England where we like to eat chip sandwiches - white bread, butter, tomato ketchup and big fat french fries cooked in beef dripping.

I certainly think I'll end up writing about America in some form. I've taken plenty of notes. I like America very much.

I always market research my books before I hand them in by showing them to five or six close friends who I trust to be honest with me, so they are very heavily re-written already.

Dieting on New Year's Day isn't a good idea as you can't eat rationally but really need to be free to consume whatever is necessary, moment by moment, in order to ease your hangover. I think it would be much more sensible if resolutions began generally on January the second.

Comedy tends to come out of things which are quite painful and serious.

It's rather fun writing a female spy, because she has so much more kit. Bond never carried a hair dryer or a makeup bag. And he certainly didn't wear an uplift bra.

So: we're all tired. Now what? Manuscripts written in Club Med?

Questioning the nature and implications of liminal instances necessarily involves failure, if only in the specifically technical sense of entering spaces where prevailing criteria of success scarcely apply.

Other composers have taken this particular technique much further than I in the meantime, with the result that the Law of Diminishing Returns has begun to apply.

Naturally enough, I couldn't have foreseen the vast sea change which has come upon that scene as a result of German reunification and associated events.

My own position is, that it is largely up to the work itself to suggest the nature of these referential points without dimensions in and through the processes by which the distance between them is maintained.

It is still true that it is easier to compose a poem in the form of a manual for adjusting a VCR than it is to write a piece using just tuning as a symphony.

In my own recent String Trio I attempt to superimpose two quite different sets of formal strategies, both of which, ultimately, refer back to historical precedent.

In my model, important interference phenomena arise when individual strata come into contact. These chaotic fluctuations are, I suppose, what my music is really 'about.'

In any case, the fewer boundaries that exist hindering free movement between all forms of articulate human cognition, the better.

If the work of art is to continue pursuing the vision of both being in and of the world but nevertheless in some fashion being more than just one more object to the mounting clutter, this is the specific point, I think, where this must be assured.

If nothing is at risk, nothing is established.

I'm perplexed, though, by your application of the term 'negative' to my figural imagery.

I would not say that I was, these days, a 'student' of philosophy, although in my youth I was quite deeply involved with certain aspects of the British pragmatists.

I suppose that the scope and implications of such forces have rendered my personal accounting ritual pretty much obsolete. That's how things sometimes go.

I frequently compose out the entire metric structure of a piece in modified cyclic form, where each cyclic revolution undergoes some form of 'variation' much as if measure lengths were concrete musical 'material.'

I don't see 'lines of force' as being destructive, except to the extent that they are exclusively traceable through observance of the path of distorted material left in their wake.

I am certainly not arguing for the de facto autonomy of the individual work, even though there is much to be said for making the attempt to see it in that light as one facet of the reception process.

Hence my obstinate emphasis on stylistic continuity from work to work rather than specific sibling relationships between the individual work and other members of its stylistic 'family' in the world outside.

Composers dialogue - and obsessively, bitterly argue - with other composers, often over the span of several centuries.

Certainly being in California has encouraged a sustained commitment to rethinking the nature, purposes, and relevance of the contemporary arts, specifically music, for a society which by and large seems to manage quite well without them.

By reason of weird translation, many such sets of instructions read like poems anyhow.