Keep it in tune with the times, but don't write with the specific purpose of trying to create a hit. If you're doing it strictly to make money, you're crazy. There are easier ways to make money.
Dorothy FieldsRead
A song doesn't just come on. I've always had to tease it out, squeeze it out. 'No thesaurus can give you those words, no rhyming dictionary. They must happen out of you.
Interpretation
Creativity requires effort and cannot be found in external resources alone.
Dorothy Fields emphasizes that the creation of art, such as songwriting, is a deeply personal and labor-intensive process. It cannot simply happen spontaneously or be derived from external aids like dictionaries; rather, it is a product of inner inspiration and personal experience.
In practice
In a songwriting workshop to encourage participants to tap into their feelings.
Keep it in tune with the times, but don't write with the specific purpose of trying to create a hit. If you're doing it strictly to make money, you're crazy. There are easier ways to make money.
A song must move the story ahead. A song must take the place of dialogue. If a song halts the show, pushes it back, stalls it, the audience won't buy it; they'll be unhappy.
Pick yourself up, dust yourself off, start all over again.
Grab your coat, and get your hat Leave your worry on the doorstep Just direct your feet To the sunny side of the street.
I wake up in the morning and my mind starts making sentences, and I have to get rid of them fast - talk them or write them down.
To the question, ‘Is the cinema an art?’ my answer is, ‘what does it matter?’... You can make films or you can cultivate a garden. Both have as much claim to being called an art as a poem by Verlaine or a painting by Delacroix… Art is ‘making.’ The art of poetry is the art of making poetry. The art of love is the art of making love... My father never talked to me about art. He could not bear the word.
After all perhaps the greatness of art lies in the perpetual tension between beauty and pain, the love of men and the madness of creation, unbearable solitude and the exhausting crowd, rejection and consent.
I just kind of conjured them up out of my subconscious and put them in order of ascending peculiarity.
I'm never certain of a performance - my own or the other actors' - or the script or anything... But to me it seems there's only one place in the world the camera can be, and the decision usually comes immediately.
What concerns me when I work, is not whether the picture is a landscape, or whether it's pastoral, or whether somebody will see a sunset in it. What concerns me is - did I make a beautiful picture?
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