In an interview, Kim Cattrall said there could be another 'Sex in the City' movie. An hour later, ISIS surrendered - there's only so much they can take.
Donald Trump did his usual softball interview on "Fox News" where the interviewer agreed with Trump that using that Yiddish vulgarity is going to be OK for him.
The media wants a nice guy, so I can give that to them. I figured I could be myself in this interview since no one's gonna read this JV newspaper.
I'm always surprised by how many people give up before they enter the room. They buy into the hype - that there are so many more qualified applicants, that no one's hiring - and assume they're not going to get the job. You've got to go into every interview believing this is the one you're going to nail.
Don't underestimate the power of the nonverbal. You'd be amazed how many people come in for interviews with poor posture, weak handshakes, and blank stares.
I'm pretty much an open book. I've pretty much talked about anything I'm going through onstage. Between interviews and curious fans, I've been asked everything. And I always give answers. I don't shy away from anything.
For my most of my career I've been a falling-down drunk. Most of my interviews were done hungover, and for a while it was great.
Autobiographical writings, essays, interviews, various other things... All the non-fiction prose I wanted to keep, that was the idea behind this collected volume, which came out about few years ago. I didn't think of Winter Journal, for example, as an autobiography, or a memoir. What it is is a literary work, composed of autobiographical fragments, but trying to attain, I hope, the effect of music.
I met Peter Brook, the theater director, who's been based in Paris for many years at the Bouffes du Nord. I admire him tremendously. Some years ago, he was in New York, and he gave an interview with The Times, and what he said was this: "In my work, I try to capture the closeness of the everyday and the distance of myth. Because, without the closeness, you can't be moved, and without the distance, you can't be amazed." Isn't that extraordinary?
One time I was doing an interview for a gay magazine and halfway through the journalist found out I wasn't gay. He said, 'Sorry, I can't continue the interview.' Because they only had gay public figures in their magazine. I felt so crestfallen. I wanted to tell him: but I play fundraisers for gay marriage! I'd rather my kids were gay than straight!'
I've always just wanted to play ball, that's all. I didn't want to do no interviews, because I didn't want to be bothered with reporters.
I didn't want to live in LA again, although I'd go back every couple of months to do an interview, usually with a heavy rock or metal band. And as the decade went on, so much of that scene had become totally corrupted by too much coke and money and silicone.
The difference between fiction and journalism is that you can disguise the characters, so you won't get your legs broken, and there's no interview tapes to transcribe.
Sometimes I try to figure out why I always push things to talk about the really dark stuff in interviews, and I just think it's healing - for the listener, and for the guest.
I definitely feel moved and affected after interviews, but not in a way that's anything other than positive. There are moments that make me want to cry, but not in any way I can't handle.
Whenever you read interviews with actors, they always seem to be given three months to do something - get fat, get skinny, learn card tricks.
When I started graduate school we did this publishing class where we learned about submitting and read interviews with editors from different magazines. A lot of them said they got so many submissions that unless the first page stuck out or the first paragraph or even the first sentence they'll probably send it back. So part of my idea was that if I have a really good first sentence maybe they'll read on a bit further. At least half, maybe more of the stories in Knockemstiff started with the first sentence; I got it down then went from there.
Because I was in psychiatric treatment for most of my childhood and had to learn English and had to adjust to a white-dominated society, I truly know what being Sudanese refugees [adopting by white family] mean. It's not something that you can explain in the confines of an interview, but there is an immediate comfort, a connection between black phenotypes that is natural.
The rumors about me being with Jamal Lewis, Adam Carolla and Tiki Barber are absolutely false. I've never even met Adam or Tiki Barber in person'we did phone interviews. What happens is that a lot of high-profile men saw topless photos of me.
I love my fans unconditionally. They have been supportive of me through everything, and I would not be here, giving this interview to you, without them.
I think the daily challenge for a lot of beat reporters is, how do you get past the regurgitated sound bites of powerful people or evasion masters who are so used to this routine - the theatricality of press conferences and stage-managed interviews and teams of handlers?
Often, my central challenge is figuring out how do I build trust, how do I acquaint people who've just endured some terrible event - losing their child to murder, say, or being sexually assaulted - with the bizarre and sometimes invasive nature of in-depth interviews that aren't just a quick list of ten questions?
My stories were translated and had many reviews before I had an interview with any international or Arab newspaper. If the stories hadn't succeeded, you wouldn't have asked me my position on Arab festivals and I wouldn't have been interested in the festivals anyway, because I would be in seclusion, writing.
There is no need for historical research. The war didn't take place a thousand years ago. Over a million Iranians served at one time or another in the war fronts and most of them are living ordinary lives today and are available for interviews. These stories are largely unknown in Iran and when I tell them to my friends or students they usually laugh.
I read an interview with Daniel Woodrell once where he said something like, basically, if people had said what they said to him in a bar instead of workshop, he would have punched them...and I finally understood that when in a class with my wife. Every time someone said something about her work, I wanted to climb across the table and stab them in the neck with my pen. And these were people I liked and respected.
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