Jack Reynor Quotes

Everything I make starts very personally.

Some movies you fall a step behind, and some you stay in the same place, make the same choices. And then sometimes there are people who know more than you but show you, and that's the maximum you can hope for - doing that with someone who says, 'I like you for what you are, and I want you to be in my picture.'

Songwriting is like going to church. I'm connecting to something, and it's rewarding in really important ways. I don't need to share it with anyone to feel good about it.

I guess that in this process of trying to incorporate or to be faithful to the films I admire so much, that's how I start to find my own voice. The admiration I have for filmmakers, this gratitude, perhaps that's my only way to become specific.

I can't play anything until I find something that connects to my life, something I can carry as my secret map or code for the character.

I start listening to something, or I'm seeing somebody a lot or seeing their art. And then I just really want to make a picture of them.

I've been fortunate to work with several actors and directors who I look up to, and learned from each of them.

There are so many designers that I love, and I'm so lucky that I get to work with so many of them and sometimes spend time with them.

To some extent, I'm mildly surprised by every new piece, by the precise path that my interest takes.

Certainly in the case of having to answer questions about where a song comes from, it's a hell of a lot easier when you say, 'I've removed myself from it.' But they start from quite a personal place. They always do.

As someone whose music is connected to his personal growth, I feel an obligation to follow this muse wherever it leads.

For poetry is, I believe, always an act of the spirit. The poem teaches us something while we make it. The poem makes you as you make the poem, and your making of the poem requires all your capacities of thought, feeling, analysis, and synthesis.

Might I give counsel to any man, I would say to him, try to frequent the company of your betters. In books and in life, that is the most wholesome society; learn to admire rightly; the great pleasure of life is that. Note what great men admire.

I have been doodling with ink and watercolor on paper all my life. It's my way of stirring up my imagination to see what I find hidden in my head. I call the results dream pictures, fantasy sketches, and even brain-sharpenin g exercises.

You just do what you love, and then a style happens later on.

Often I don't know what the song means until it's finished. Sometimes months later. I don't think that's bad. It implies that I don't know what I'm doing but-I think if you're able to follow your instincts, then that's knowing what you're doing.

GOOD AS NEW was born out of the idea of writing a play where the stakes were high and the collisions were of a verbal nature. Also I wanted to write a play where people were smarter than I was, and more alive than I feel normally. I became interested in the idea of characters who would surprise me. I guess one could argue that nothing comes out of you that wasn't within you to begin with, but maybe there are ways to trick yourself into becoming more an observer or an advocate for the characters.

There are, it seems, two muses: The Muse of Inspiration, who gives us inarticulate visions and desires, and the Muse of Realization, who returns again and again to say, 'It is yet more difficult than you thought.' It may be that when we no longer know what to do, we have come to our real work and when we no longer know which way to go, we have begun our real journey.

First, I do not sit down at my desk to put into verse something that is already clear in my mind. If it were clear in my mind, I should have no incentive or need to write about it. We do not write in order to be understood; we write in order to understand.

I worked at Disney many years ago. They just let me sit in a room for a couple of years and draw whatever I wanted to draw, so it's a very personal thing to me. Drawing and everything you do there is something meaningful and personal.

When I begin a story at my desk, the window to my back, the path is not there. As I start to walk, I make the path.

Writing is mysterious, and it's supposed to be...any path that gets you there is a good path in the end. But one true thing among all these paths is the need to tap a deep vein of connection between our own uncontrollable interior preoccupations and what we're most concerned about in the world around us. We write in response to that world; we write in response to what we read and learn; and in the end we write out of our deepest selves, the live, breathing, bleeding place where the picture forms, and where it all begins.

I feel like "Not For Long" was one for me just because I got to work with two people that I looked up to...

You know how writers are... they create themselves as they create their work. Or perhaps they create their work in order to create themselves.

I only produce things that have so much in common with what I like. I wanna understand what I'm doing. I wanna understand the instincts that are going to inform the story.