by Dave Ris:
"I'm a professional television editor & composer who's interested in what happens when you take the thing you love to do most...
and try making money at it."
"Listen, I’ve always been a situational writer. My idea of what to do with a plot is to shoot it before it can breed. It’s true that when I start a story, I usually have a general idea of where it’s going to finish up, but in many cases I end up in a different place entirely (for instance, I fully expected Ben Mears to die at the end of ’Salem’s Lot, and Susannah Dean was supposed to pop off at the end of Song of Susannah). “The book is the boss,” Alfred Bester used to say, and what that means to me is the situation is the boss. If you play fair with the characters—and let them play their parts according to their strengths and weaknesses—you can never go wrong. It’s impossible."
"I wrote it as a reggae song,” Joel recalled. “And Liberty [DeVitto], my drummer, is so sick of reggae that he literally throws his drumsticks at me and says, ‘Ugh, I frigging hate reggae! The closest you’ve ever been to Jamaica is when you changed trains in Queens.’ So I said, ‘Yeah, what’s your solution?’ And he played that opening fill and went into this kind of shuffle."
talking about recording “Only The Good Die Young”…
"It was really Freddie’s baby from the beginning,” said guitarist Brian May. “He came in and knew exactly what he wanted. The backing track was done with just piano, bass and drums, with a few spaces for other things to go in … Freddie sang a guide vocal at the time, but he had all his harmonies written out, and it was really just a question of doing it."
Queen guitarist, talking about Freddy Mercury and “Bohemian Rhapsody…
"We wrote a lot of stuff together, one on one, eyeball to eyeball. Like in ‘I Want to Hold Your Hand,’ I remember when we got the chord that made the song. We were in [Paul’s then-girlfriend] Jane Asher’s house, downstairs in the cellar playing on the piano at the same time. And we had, ‘Oh you-u-u/ got that something…’ And Paul hits this chord [E minor] and I turn to him and say, ‘That’s it!’ I said, ‘Do that again!’ In those days, we really used to absolutely write like that—both playing into each other’s noses."
"The lightning bolt came out of the heavens and struck Ann and me the first time we saw the Beatles on the Ed Sullivan Show. My family was living on the marine base in Camp Pendleton, California, and we’d all gathered around the little black-and-white TV at our grandmother’s in La Jolla. Most people didn’t have color sets at home back then. There’d been so much anticipation and hype about the Beatles that it was a huge event, like the lunar landing: that was the moment Ann and I heard the call to become rock musicians. I was seven or eight at the time."
"This is the most important thing, this is what I tell Haley. I say, “You know what? Don’t even think about, or listen to what’s out there. Don’t do anything, just figure out what it is that is true to you, what makes you happiest to do and be out there. And if it doesn’t work, then you just have to call it a day and go find something else. But don’t make it up. Don’t go out there and pretend to be something you aren’t. They will smell it on you and they will know."
"…when I did When Harry Met Sally with Rob Reiner, I wrote that script, and I thought, “Well, I don’t really want to direct, but if I did direct, this would be a good movie to start with, because there aren’t a lot of people in it, and there aren’t a lot of people in any of the scenes, and it wouldn’t be that complicated shooting it,” and all of that. But then Rob did it, and he was so brilliant. He did such a brilliant job. He changed the script. He made it so much better than it was, and so I thought, “Well, I guess if I get to work with the Robs of the world, why direct?” And then my next movie I did with someone else who didn’t make the script better. So, at about that time, I thought maybe I should think about directing."
Theme by Lauren Ashpole