They are imbeciles who call my work abstract. That which they call abstract is the most realistic, because what is real is not the exterior but the idea, the essence of things.
I didn't necessarily have a total idea when I was writing the movie of where everything was going. I just wanted to have really realistic dialogue and write like people I knew talked. I tried to keep it very real.
Shakespeare's idea of the tragic fact is larger than this idea and goes beyond it; but it includes it, and it is worth while to observe the identity of the two in a certain point which is often ignored.
In approaching our subject it will be best, without attempting to shorten the path by referring to famous theories of the drama, to start directly from the facts, and to collect from them gradually an idea of Shakespearean Tragedy.
Nor does the idea of a moral order asserting itself against attack or want of conformity answer in full to our feelings regarding the tragic character.
My stories run up and bite me on the leg - I respond by writing down everything that goes on during the bite. When I finish, the idea lets go and runs off.
Music has to be written while people are still excited about a particular melodic or rhythmic sequence. The idea doesn't come out the same if we're not really excited about it.
To have some idea what it's like, stand in the outside lane of a motorway, get your mate to drive his car at you at 95 mph and wait until he's 12 yards away, before you decide which way to jump.
