John Hench Quotes

I never really had novel-writing instruction like people do in MFA programs.

I don't think plot as a plot means much today. I'd say that everybody has seen every plot twenty times. What they haven't seen is characters and their relation to one another. I don't worry much about plot anymore.

There's one massive problem with coming from writing novels into screenplays that I've discovered over the years, which is that you've got too much facility on the page. In novels, you can persuade people of things that work that don't really work.

I honestly would tell anyone young to start looking at stories and learning story, because I think that’s the next step after people go, ‘OK, I’ve had enough of that improvisation, I’ve had enough of those short comedy bits. Tell me a story, tell me a more complex story, something that lasts and maybe has a little more meaning to it.’ Don’t ever look at what’s happening now; look at what’s coming next.

The way my books are structured, everyone was together, then they all went their separate ways and the story deltas out like that, and now it’s getting to the point where the story is beginning to delta back in, and the viewpoint characters are occasionally meeting up with each other now and being in the same point at the same time, which gives me a lot more flexibility for killing people.

People need stories...we use stories to teach, to learn, to make sense of the world around us. As long as we need stories, we will need books.

What is the value of having millions of people in Iraq not having a repressive regime? What is the value of having the Iraqi regime not shooting at UK and US aircraft almost every day? What is the value of the Iraqis having a free press? What is the value of the foreign minister of Iraq going to Paris, calling for an end of the Gadhafi regime and citing Iraq as a model, as an example, that in fact a freer political system can exist in that part of the world?

If you're onstage and you're improvising and nothing's happening, people are racing for the door. But the director can go shopping later and pick up pieces and moments and insert them.

I look for really great characters. I say great because as long as they're really good, there's something you can do. And really good storytelling. And when people ask me what the story is, I say it's really several stories really. They're intermeshed.

And that's the way of a real tale. Take any one that you're fond of. You may know, or guess, what kind of a tale it is, happy-ending or sad-ending, but the people in it don't know. And you don't want them to.

To feed the hungry, clothe the naked and shelter the harborless without also trying to change the social order so that people can feed, clothe and shelter themselves is just to apply palliatives. It is to show a lack of faith in one’s fellows, their responsibilitie s as children of God, heirs of heaven.

I don't know where there can be so many pianists as in Paris, so many asses and so many virtuosi.

Sometimes I'll have a scene that strikes me, I just feel like writing a scene, a mini-story that seems like it might lead somewhere. But that is such a tentative, fishing-hook way to go about it that these days I've found it's easier to kind of at least have your concept and start attaching things to a skeleton. So I try to find the armature, the kind of backbone of it first that you can start to hang those scenes on.

I love when people write about something, I learn what I'm doing through the eyes of a good critic, positive or negative. It's still a learning experience.

People come to Paris, to the capital, to give their lives a sense of belonging, of an almost mythical participation in society.

Someone told me once - I mean I said, "Is it ok that I don't really know what the three-act structure is?" And he said, "It's basically: Act 1: a guy climbs up a tree; Act 2: people come and throw stuff at him; Act 3: he gets down."

I'm very keen. Adaptations of other people's work, too. I got fascinated by the adaptation process, so I think that'd be a really interesting task. I would happily write original screenplays as well. I think it's become one of my favorite genres.

Today's tragedy in Paris reminds us very viscerally that it's a right that some people are inexplicably forced to die for. So it's very important tonight that I express that everybody who works at our comedy show, all of us are terribly sad for the families and people of France and anybody in the world tonight who now has to think twice before making a joke. It's not the way it's supposed to be.

All of the progress that the US has made over the last couple of centuries has come from unemployment. It has come from figuring out how to produce more goods with fewer workers, thereby releasing labor to be more productive in other areas. It has never come about through permanent unemployment, but temporary unemployment, in the process of shifting people from one area to another.

As my life went on and I met Frank Sinatra and people like that, and I watched live performers on stage, I learned how to tell a story. Because if you listen to Sinatra, all of his songs are stories; there's a beginning, middle, and end. So that's where it comes from.

Jane's stories are extremely sensible. Then Diana puts too many murders into hers. She says most of the time she doesn't know what to do with the people so she kills them off to get rid of them.

I love the idea that more people would read short fiction. I think it's such a humanizing form. It softens the boundaries between people.

My curiosity was in no way cruel. Deviations from the commonplace attracted me strongly, as they still do; and to me the hermaphrodite and the living skeleton were interesting for the same reason as was Creatore, or the resplendent Guardsmen of the bands - because such people did not often come my way, and I hoped that they might impart some great revelation to me, some insight which would help me to a clearer understanding of the world about me.

This is ideological colonization. They colonize people with ideas that try to change mentalities or structures, but this is not new. This was done by the dictatorships of the last century.

I think that's the core of black aesthetics: the ability to improvise. That is what has enabled our [black people's] survival.