Joy And Sorrow Are Like Milk And

I Love The Auditioning Process. I Love Working With The Technical Guys. I Absolutely Love The Editing Room. That Was Completely Fascinating To Me, Working With An Editor In Crafting The Thing Into Something You Had In Your Head.

The Best Way To Show People True Things Is From A Direction That They Had Not Imagined The Truth Coming.

Adults Follow Paths. Children Explore. Adults Are Content To Walk The Same Way, Hundreds Of Times, Or Thousands; Perhaps It Never Occurs To Adults To Step Off The Paths, To Creep Beneath Rhododendrons, To Find The Spaces Between Fences. I Was A Child, Which Meant That I Knew A Dozen Different Ways Of Getting Out Of Our Property And Into The Lane, Ways That Would Not Involve Walking Down Our Drive.

I Was Always Aware, Reading Chesterton, That There Was Someone Writing This Who Rejoiced In Words, Who Deployed Them On The Page As An Artist Deploys His Paints Upon His Palette. Behind Every Chesterton Sentence There Was Someone Painting With Words, And It Seemed To Me That At The End Of Any Particularly Good Sentence Or Any Perfectly-put Paradox, You Could Hear The Author, Somewhere Behind The Scenes, Giggling With Delight.

There's A Tale In The Caballa That Suggests That The Angel Of Death Is So Beautiful That Upon Seeing It (or Him, Or Her) You Fall In Love So Hard, So Fast, That Your Soul Is Pulled Out Through Your Eyes. I Like That Story.