The one guiding principle over my 23-year career in TV has been as long as I'm having fun, I really don't care what the job title is.
When my title was taken away boxing died.
Remove justice, and what are kingdoms but gangs of criminals on a large scale?... A gang is a group of men... in which the plunder is divided according to an agreed convention. If this villainy... acquires territory, establishes a base, captures cities and subdues people, it then openly arrogates to itself the title of kingdom.
In the future, women will have breasts all over. In the future, it will be a relief to find a place without culture. In the future, plates of food will have names and titles. In the future, we will all drive standing up. In the future, love will be taught on television and by listening to pop songs.
To be a movie star, you have to carry a movie. And to carry a movie where you play the title role is the supreme example.
Watch tonight, pray tomorrow. Gallants, lads, boys, hearts of gold, all the titles of good fellowship come to you!
I'm terrible at making titles. I never like the titles of my films.
Pope John Paul II is the great. Only two other popes had that title. Does that suggest there is going to be a move for canonization?
Success is such a relative thing for me. I'm fundamentally a Christian which means that ultimately all of the penultimate titles and things you just had to wear with a loose garment. Really.
Hollywood changed to become a more marketing-driven Hollywood, where people who are running the studios are more like marketing people, and they need titles.
Japanese gamers aren't really into action games right now. They're into role-playing or strategy games with a lot of stats, but action titles are still really popular across the US and Europe.
The most important thing is just to be recognised as a legend, like the people call me. To have that title attached to your name, you've got to be a bad man. It's an honour to have that role.
When you're somebody who has the pretension to make art, it's completely different from when someone else says I want to make a book of your art. You don't decide the title, you don't decide the size, the order of the photographs . . . so it's completely out of control!
I'm a sucker for double meanings in titles.
Whenever I work on the computer, I have folders and you know how you always give everything working titles, if you have a riff or a motif or a chord progression or a lyric written on a page, it's just a line or a word or something so I always give everything a working title when I'm making a folder.
Short chaps evolved naturally, but I didn't title and number them till much later. I like short chaps, like short books too, as a rule.
Language is a theme in the whole book, no? I mean it ends with the title poem about words are all we have. I guess midrash makes sense. How does it change in the course of the sequence? Well, God is into No and into Stasis/Nouns. Adam and Eve, in order to be in this world (and get this world going) must choose verbs. Which is to gain sex but also to choose death and all else that goes with change. To choose becoming over being.
I chose the title Dogwalker because that describes me pretty well. I spend a lot of time walking around with my dogs. I'd say the narrator is me in an alternate universe.
I hope that the relationship of the title to the novel [ What Belongs To You] gets more complex with each section of the book: that maybe it begins by resonating with the question of prostitution - to what extent can a body be commodified, what exactly are you renting or purchasing when you pay for sex - and deepens over the course of the book to address larger questions of ownership and belonging.
In high school my mother advised me to make my last lines into titles. It was very good advice.
I am intrigued and even moved by the idea of being right with the reader in the actuality that she or he is reading a poem. So the titles are an acknowledgment of the reality and value of that act in the world.
Reading a poem is a real thing, a worthy thing. So to be there right with the reader at that moment is part of the effect of a title like "Poem for" something or other. Matt Rohrer does this a lot in his titles, and I think I might have gotten some of the idea to do this, or at least been reminded of how it can work, from his recent amazing books.
Keats's odes are among my favorite poems ever. As are Neruda's. So yes, I think my poems are odes, though I really just see those titles as ways of more or less orienting the poem. I've never thought about this until now, but I guess you could say that one effect of all the titles, their pervasiveness in the book, might be to once again, as so many other things do, put into question the meaning of the word "for," which I suppose is one of the great human questions: what is all this for? Why, and for whom, are we doing whatever we are doing?
The DNA of the novel - which, if I begin to write nonfiction, I will write about this - is that: the title of the novel is the whole novel. The first line of the novel is the whole novel. The point of view is the whole novel. Every subplot is the whole novel. The verb tense is the whole novel.
Now, as a reader, you shouldn't feel the decisions the writer makes about this DNA, or it would be boring beyond belief. But, as a writer, you're struggling to make these decisions. What should the title be? What's the first line? The point of view? And the struggle with the decisions is because you're trying to figure out WHAT IS THE NOVEL, WHAT IS THE NOVEL?
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