Yoko Ono Quotes

I do everything I watch, whether it's like a big comic book film that I've done or something very serious and raw.I do have that initial feeling like I'm the worst, this is awful, my work is - I've let everybody down. I definitely have that.

Like most writers I spend a lot of my time sort of thinking, "It's such agony, I can't do it."

I've never had a writer's block, but still I think: 'Is it going to happen this time?' You never know what you're going to get; you just put your fingers on the keys and hope.

I think one thing that's important to maintain is a sense of fear, always doubting yourself... a good dose of insecurity helps your work in some ways.

I find I have to touch what I am working on every day, or a deep-seated dread kicks in that is very hard to overcome.

When it comes time to sit down and write the next book, you're deathly afraid that you're not up to the task. That was certainly the case with me after Snow Falling on Cedars.

People think that if you've written a book and somebody's given you a pat on the back then, you know, it's all - you're all settled, you know? You're going to be fine. I know that if I'm not confused, and really afraid, my work isn't going to be any good.

Each project, I suffer like I'm starting over again in life. There's a lot of healthy insecurity that fuels this stuff.

You feel yourself working to show something. I've learned to distrust that feeling.

One of the most important things for me in terms of my working method is doubt. I get very insecure about my ideas. And I don't say 'insecure' in kind of a paranoid way. I mean just: 'Are they good enough?' 'Is this the right thing to do?' I really beat myself up over that.

I do everything all wrong, but I think for me that's the best, because I don't think I have a voice.

One has complexes. One has the art complex. One goes to the School of Fine Arts and catches the complexes.

I approach each project with a new insecurity, almost like the first project I ever did, and I get the sweats, I go in and start working, I'm not sure where I'm going.

Most writers are vulnerable and insecure, and Kay Graham was more so than most.

There's one thing now that I experience every day when I'm making a film. I get up and think to myself, 'Am I going to be able to do it today?' I figure as long as I have that fear, I'll be alright.

I'm always nervous when I start a new picture.

To write fiction is to think that you're doing it wrong - that your work habits are inhibiting you; that you've chosen the wrong subject; that you've chosen the right subject, but that someone else has, unbeknownst to you, already written exactly the book you're laboring over.

I am quite an insecure person, and I think that, like any director, if I'm asked about my vision for a piece, I feel very vulnerable.

I'm happy that I wrote 'How Should a Person Be?' and I wouldn't have written that exact book if we had just done the play. So much of the book is about the anxiety of failure - the failure of the play and the failure of the divorce and the failure of not feeling like a good person.

I am always in self-doubt... every moment of my filmmaking. I am supremely confident when the story is being written and everything is in our head. But the moment we get into the filmmaking, I start doubting myself - from the camera angle to the re-recording to getting the actors to do their shots.

I always think there will be that time that people will find out that I'm crap at what I do.

It's not hard to feel afraid and insecure. I still fight an inner-critic voice, definitely. I hear it a lot.

I'm often prone to self-doubt about everything I do.

Every time I start a picture ... I feel the same fear, the same self-doubts . . . and I have only one source on which I can draw, because it comes from within me.

It has always bothered me that I don't paint like everyone else