That's one of those hazards of an interview: You get tired of your stock answer and you try to get creative and even play devil's advocate.
The impression I got during the research and interview process was that they are trying to own the disease and therefore own the cause which can ultimately be more profitable for some corporations and fund-raising groups.
I remember reading an interview with a writer who said that in nonfiction if you have one lie it sort of messes it up. But in fiction the real details give you so much more credibility, because people do so much research just to write fiction. In fiction you're trying to recreate something lifelike.
You could imagine writing about a prostitute, for instance, but if you haven't spent time with prostitutes then you're going to get all these details wrong. But if you have a lot of sex with prostitutes and you're friends with prostitutes and you interview prostitutes, then maybe after many, many years you might be able to create prostitute characters.
If you are a reporter trying to find out what the hell's going on in government now, you have a devilish time. It is murder to set up an interview. It is murder to get someone's phone number. It's murder to be able to get in and talk to someone without a handler being present to chill it, or who doesn't insist upon questions in advance.
I'm a very slow reader, and books of interviews are an absolute favorite of mine.
What I think is so great about interviews, is when people cite inspirations.
I remember Bob Dylan saying in an interview that at a certain point he'd had to learn to do consciously what he'd previously done unconsciously or automatically. That resonates.
I like to think that at best the interview becomes something like the unaccountable experience of talking to oneself in a mirror.
A beautiful word in the middle of a sentence can sometimes reduce me to tears in an interview, and when I'm reading, too. I've sometimes wondered whether I'm at the point of tears all the time because I use my eyes so much that they're strained and on the verge of tears anyway.
Your interviews or blog posts or whatever are less supplements to your novel than part of it. I'm not private, but I believe in literary form - I'll use my life as material for art (I don't know how not to do this) and I'll use art as a way of exploring that passage of life into art and vice versa, but that's not the same thing as thinking that any of the details of my life are interesting or relevant on their own.
In a recent interview, Hillary Clinton said that one of the jobs that prepared her to be president was sliming fish in Alaska. As opposed to Bill, who learned by catching crabs in Cancun.
In several speeches and interviews, Donald Trump has brought up his book 'The Art of the Deal,' and said that Obama would have negotiated a better deal with Iran if he had read it. It got even more awkward for Obama when Iran was like, 'It worked for us - you guys got screwed!'
In a recent interview, Jeb Bush revealed that his brother George gave him the nickname 'tortoise' because he's making slow, steady progress. Though I think the bigger story here is that compared to George, Jeb is the slow one.
I used to do Korean classical music and started training to join an idol group after someone set me up an interview with my current agency. The common thing between Korean classical music and becoming a singer is that I get to go on stage which why I decided to get professional training for K-pop music without holding any bias.
I probably shouldn't treat interviews as therapy sessions, but I don't keep a diary, so these end up being my way of keeping track of where I'm at and letting it all out.
I interview every employeeand I have 3000 employees. It's an obsessive sickness.
Years ago I read an interview with Paula Fox in which she said that in writing, truth is just as important as story. Reading that interview was the first time I really understood that there's no point in trying to impress people with my cleverness when I can just try to write honestly about what matters most to me.
The biggest benefit of doing an interview podcast is the relationships you build.
Mike Wallace's interviews may make great television, but they don't produce great evidence.
There is a documentary element in my films, a very strong documentary element, but by documentary element, I mean an element that's out of control, that's not controlled by me. And that element is the words, the language that people use, what they say in an interview. They're not written, not rehearsed. It's spontaneous, extemporaneous material. People
One of the strengths of my interviews is that I really, honest to God, have no idea what people are going to say.
I've done interviews in one day that went on for fifteen, sixteen hours. And at a certain point, the control over what they're saying breaks down; it becomes different. It becomes really powerful, and for me, real. It becomes out of control.
When interviews are good, the conversation can be amazing. Sometimes I've had conversations with journalists that I've never had with anybody else.
Quentin [Tarantino] is a filmmaker who really dives into things very seriously and deeply. And when he does interviews, he really wears his heart on his sleeve and he doesn't hold anything back.
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