Dum differtur, vita transcurrit.
Whatever you are, be a good one.
You can do it like it’s a great weight, or you can do it like it’s part of the dance.
A relationship is about inventing your own language. You’ve got the jokes, you’ve got the songs, you have this anecdote that’s going to make you laugh three years later. It’s this language that you build. That’s what you mourn for when you’re losing someone you love. This language you’re not going to speak with anybody else.
There is no art until it’s on paper, there is no art until it’s sold.
Ich muß den Ästheten eine niederschmetternde Mitteilung machen: Alt-Wien war einmal neu.
I’m not telling you to make the world better, because I don’t think that progress is necessarily part of the package.
I’m just telling you to live in it. Not just to endure it, not just to suffer it, not just to pass through it, but to live in it. To look at it. To try to get the picture. To live recklessly. To take chances. To make your own work and take pride in it. To seize the moment.
And if you ask me why you should bother to do that, I could tell you that the grave’s a fine and private place, but none I think do there embrace. Nor do they sing there, or write, or argue, or see the tidal bore on the Amazon, or touch their children. And that’s what there is to do and get it while you can and good luck at it.
Nobody tells this to people who are beginners, I wish someone told me.
All of us who do creative work, we get into it because we have good taste. But there is this gap. For the first couple years you make stuff, it’s just not that good. It’s trying to be good, it has potential, but it’s not. But your taste, the thing that got you into the game, is still killer. And your taste is why your work disappoints you.
A lot of people never get past this phase, they quit. Most people I know who do interesting, creative work went through years of this. We know our work doesn’t have this special thing that we want it to have. We all go through this. And if you are just starting out or you are still in this phase, you gotta know it’s normal and the most important thing you can do is do a lot of work.
Put yourself on a deadline so that every week you will finish one story. It is only by going through a volume of work that you will close that gap, and your work will be as good as your ambitions. And I took longer to figure out how to do this than anyone I’ve ever met.
It’s gonna take awhile. It’s normal to take awhile. You’ve just gotta fight your way through.
Above all, try something.
Life is either daring adventure or nothing at all.
Life shrinks or expands in proportion to one’s courage.
Err in the direction of kindness.
I: You have some wonderful stories of basically getting away with stuff at the studios.
MB: I’d learned one very simple trick: say yes. Simply say yes. Like Joseph E. Levine, on The Producers, said, “The curly-haired guy—he’s funny looking. Fire him.” He wanted me to fire Gene Wilder. And I said, “Yes, he’s gone. I’m firing him.” I never did. But he forgot. After the screening of Blazing Saddles, the head of Warner Bros. threw me into the manager’s office, gave me a legal pad and a pencil, and gave me maybe twenty notes. He would have changed Blazing Saddles from a daring, funny, crazy picture to a stultified, dull, dusty old Western. He said, “No farting.” I said, “It’s out”… You say yes, and you never do it.
I: That’s great advice for life.
MB: It is. Don’t fight them. Don’t waste your time struggling with them and trying to make sense to them. They’ll never understand.
For the world is movement, and you cannot be stationary in your attitude toward something that is moving.
We want to believe that love is singular and exclusive, and it unnerves us to think that it might actually be renewable and somewhat repetitive in its habits. Would your current partner ever call his or her new partner by the same pet name he/she uses for you, once you are dead and buried? Well, why not? There are only so many pet names. Why should that bother you? Well, because you believe it is you, in particular, who is loved (that is why dear Ed calls you “honey-bunny”), but no: love just is, and you happened to be in the path of it. When, dead and hovering above Ed, you hear him call that rat Beth, your former friend, “honey-bunny,” as she absentmindedly puts her traitorous finger into his belt loop, you, in spirit form, are going to think somewhat less of Ed, and of Beth, and maybe of love itself. Or will you?
Maybe you won’t.
Because don’t we all do some version of this, when in love? When your lover dies or leaves you, there you are, still yourself, with your particular way of loving. And there is the world, still full of people to love.