“I invariably, after great familiarity with a film, concoct a personal way of reading it that relies entirely on information which a public audience would, I feel, have scant interest. I might travel from a casual unrehearsed glance of a minor character to a detail of folded cloth, from a rhyme in the dialogue to an over-excited high note in the music, from a misplaced shadow to a patch of rogue colour, from a shine on a furniture leg to a curious accidental photographic haze around a street lamp, from the examination of a cloud that looks like a snail to the discomfort of an actress who I know is stifling a sneeze.”

Review http://www.rogerebert.com/reviews/summer-school-1987 of Summer School (22 July 1987)
Reviews, Half-star reviews

On her writing interests in “Celeste Ng: ‘It’s a novel about race, and class and privilege’” https://www.theguardian.com/books/2017/nov/04/celeste-ng-interview-little-fires-everywhere in The Guardian (2017 Nov 4)

John R. Erickson on the discipline of writing, the world of publishing, and (of course) dogs http://www.lonestarliterary.com/john-r.-erickson-061415.html (June 14, 2015)

1984
Context: On inspiration: "Of course, inspiration can come in different ways, depending on what field you’re working in? When I’m writing music for a film, inspiration will come from the subject matter and visual images, because I don’t agree to any offers of film work unless I believe I can add another dimension to the film. But if l’m writing music purely for myself, inspiration comes naturally, from everything around. I absorb every experience in life, every situation, because anything can become a source of inspiration — positive or negative. In general l’m influenced more by everyday concepts — nature, the city and so forth — than by hearing other pieces of music. Neither do I find any special inspiration from working in a studio. Obviously it makes life a lot easier to have 24 tracks to record on, and I use the studio as a tool to help in the writing process. I see the mixing desk really as another instrument, the conductor for all the others. But although the tape recorder and the console are just as important as the keyboards, I haven’t equipped my studio with a lot of hi-tech effects: l’d rather spend time searching through my sound library to get the exact colour I want".

Quotes By Salman

On the Socialist Future of Humanity, 1981

Source: Everybody’s Autobiography (1937), Ch. 4

On the Agriculture of England (1840)
Context: Is it practicable, on the soil and in the climate of Massachusetts, to pursue a succession of crops? I cannot question it; and I have entire confidence in the improvements to our husbandry, and the other great advantages, which would accrue from judicious rotation of products. The capacities of the soil of Massachusetts are undoubted. One hundred bushels of corn to an acre have been repeatedly produced, and other crops in like abundance. But this will not effect the proper ends of a judicious and profitable agriculture, unless we can so manage our husbandry that, by a judicious and proper succession of the crops, land will not only be restored after an exhausting crop, but gradually enriched by cultivation.

Time magazine (27 October 1975)