Spike Lee Quotes

What has any poet to trust more than the feel of the thing? Theory concerns him only until he picks up his pen, and it begins to concern him again as soon as he lays it down.

In a poem, the words happen; they just come. I let them. Otherwise, I wouldn't write. To interfere with what is happening is to distort the poem. Just a very small degree of intelligence and supervision is necessary. Very tactful. Any revision later that violates the text as it came, that begins rewriting the words, is fake.

Whatever extra there is in me at any given moment isn't fully formed. I am hardly aware of it; it awaits the next book. It will - with luck - come to me during the actual writing, and it will take me by surprise.

I write based on powerful inner impulses, and those seem to shift over time.

What I do is write, and I try to write as closely as I can into what I call 'the mystery.'

Sometimes when I write songs, I don't know what they're about, and it just suddenly comes to me.

It's inevitable that if you write an album or a song, obviously it's going to come from how you feel. You're writing it for yourself, it's just the way it is.

There is something in our minds like sunshine and the weather, which is not under our control. When I write, the best things come to me from I know not where.

The best emotions to write out of are anger and fear or dread. The least energizing emotion to write out of is admiration. It is very difficult to write out of because the basic feeling that goes with admiration is a passive contemplative mood.

Sometimes you feel like you have to do research to make something, other times you know you don't feel it so much.

As I'm writing, I start to see connections, and themes I didn't see, and that sparks other things. So then I go back and rewrite things or alter them. It's a combination of intuition and a lot of finessing. It becomes a combination of the rational and the irrational.

I've dedicated a lot of my life as a writer to understanding how to hear the divine voice, or the music of the spheres, or whatever it is that we do when we're making art, making something out of nothing. Figuring out how to do that is much more important than knowing how to execute a good line. I don't think about that anymore, I just write.

(Songwriting) It's a gift. It all comes from somewhere. I started out really young, when I was four, five, six, writing poems, before I could play an instrument. I was writing about things when I was eight or 10 years old that I hadn't lived long enough to experience.

I don't type [when I write] because . . . I often have the feeling that everything flows directly from my right hand.

Songwriting is ... all about intuition - this thing pops into your head for a reason and it's up to you to follow it. It's like there's a spirit, or intuitive network, that comes through all of us, but most people don't take the time to think about it or remember it. These little things pop into our heads - it's just a process of intuition. The initial thought comes in a baby state, and you work on that some more.

When I'm most deeply involved in my writing, sometimes I do dream about poetry, and occasionally I wake up from a dream with a phrase that I like well enough to put it in a poem.

When I write, I don't know what is going to emerge. I begin in a condition of complete unknowing, an utter nakedness of concept or goal. A word appears, another word appears, an image. It is a moving into mystery.

When you're sitting down and you're blocked and you just start writing and something in your mind just clicks, you start seeing connections and so on, you really do feel like you're channeling something else.

You sit and you let your fingers go to wherever they are going to go. You wait until you start to hear something, and you start to figure out what it is that you're doing. And then you add another piece next to that piece, and wait to see if some kind of pattern or something interesting starts to grow, and then you cultivate it.

The artwork had very little to do with the thought process, and the writing too, for that matter. What happens, happens, and it happens outside the brain.

I've described my usual writing process as scrambling from peak to peak on inspiration through foggy valleys of despised logic. Inspiration is better when you can get it.

It was a roller-coaster process. For a long time I had no idea what I was doing. I wasn't writing with an outline. And, rare for me, I wrote scenes out of sequence. . . . I didn't understand the play when I wrote it. It was something I'd give in to. It happens to me periodically. I give over and write whatever comes to me and I don't know what it means and then I do. It's thrilling.

When you sit down and write a song, you kind of have the idea for the song, and you sit there at the piano and you kinda just write it. And then of course later there's some dinking around with it and changing some stuff. But there's this thing that happens when the song first comes out, that sort of magic when it first comes out of the ether, and you can't even really explain where it comes from. That happens so much with music, and people understand that with music. But I really think that a lot of movie and TV should be the same way.

Ideally a painter (and, generally, an artist) should not become conscious of his insights: without taking the detour through his reflective processes, and incomprehensibly to himself, all his progress should enter so swiftly into the work that he is unable to recognize them in the moment of transition. Alas, the artist who waits in ambush there, watching, detaining them, will find them transformed like the beautiful gold in the fairy tale which cannot remain gold because some small detail was not taken care of.

You either have an imaginative mind or you don't. All of my writing is God-given. I don't write my stories - they write themselves.