Christopher bollen quotes

I definitely don't take any of intrusions in my private life personally. You learn how to have a sense of humor pretty quickly. I honestly don't keep up on it unless it's something that would hurt someone else. I can take care of myself, that's not the problem. But it's just not fair to bring anyone else into the picture.

I've never even done a residency.

Today, MTV doesn't play videos anymore, but YouTube certainly has become the next MTV.

There seem to be two ways of generating interest from the reader: withholding information or by telling the reader on the first page exactly what's going to happen.

I feel that I'm solid at description.

I like the idea of the book being wiser than the person who wrote it. None of the novels I've written are direct transcriptions of me blathering over dinner with a glass of wine in my hand. I don't hold any illusion of those conversations being of particular value. The books, though, are - I hope - bigger than my opinions, investigations that go beyond my own intellect or wit.

Every time I try to write on vacation, I fail miserably.

Looking back, [R.E.M.]videos, by in large, have always been art films. I'm thinking of "Losing My Religion." That's a landmark piece.

Now we're in an age of singles. It's actually always been more about singles for most of music history.

You sit at a fashion show in another country and you watch all of these paparazzi swarm around a celebrity, only they're a local celebrity, maybe a soap opera star, so you don't have any idea who they are, you just know they're famous to a bunch of stunned Italians. It's weird, because when you can't identify who a celebrity is, they can just look like overslicked stand-ins. That might sound awful, but what I mean is, when you think about most actresses, even in Hollywood, they really aren't that fascinating or glamorous in their own right once you strip away the flashbulbs.

I had lived in New York since 1996, sometimes in the worst neighborhoods, without even locking my door half the time.

I have always wanted to be either a cinematographer or a veterinarian.

There's also something sexual about watching the nubile girl in terror. But you do take on her fear as your own.

I like change. I've never really had much consistency in my life, you know, from everyday work to my living situation to whether or not I'm going to be in L.A. The one constant thing in my life is my friends and family, which is all I need

The death drive is parasitic. It runs off of other drives, leeching off of them.

My parents were great parents, but for some bizarre reason they allowed me to watch whatever I wanted on TV, we had cable. And I constantly watched horror movies.

If you've been in the art world for more than eight years, you realize another generation is making the exact same work as the previous generation - but treating it like it's never been done before. It becomes very cyclical very quickly.

Why I love chess and tennis - the volleying aspect, and the fact that your competitors' reactions and motivations and bluffs come into the game itself.

I like to be alone, I mean, I really love to be alone more than anything else, and I don't really like to talk about myself to death, and I don't like to share too much, and I don't really have dreams of extreme fame or even extreme respect.

I really believe there is something in the nature of a democracy that naturally leads people to distrust the government, to assume because a democracy is built by people just like themselves that there must be secret plots and cover-ups and wizards behind the scenes running the machine.

To this day I still watch tons of horror.

I'm really much better at asking questions than answering them, since asking questions is like a constant deflection of oneself.

Secrets are never secure because they are always at risk of being found out.

I was never afraid on stage. That's where I was the least afraid. I could just do what I do and I had the amplification and the lights.

I'm convinced I was the only kid ever who had a Death on the Nile [1978] movie poster and a Murder on the Orient Express [1974] movie poster on his bedroom walls.

Both my parents were big readers. My dad liked more macho adventure books like Shogun or spy novels. My mother reads murder mysteries. In fact, so does her mother, my grandma.

Talking to all those great writers and artists for the magazine was a form of graduate school for me.

I was obsessed with Agatha Christie in sixth grade.

We lost so many talented artists and writers from the generations before ours that we're really lacking older figureheads.

I've never had a mentor. I've always wanted one. I'm actually really disappointed that nobody took my under their wing.

I have to say I do read partly for escapism. Why can't I escape and learn something?

It is a little out of touch to presume that someone wants to follow your every observation and insight over the course of hundreds of pages without any sort of payoff. That's why writing isn't a one-way street. You have to give something back: an interesting plot, a surprise, a laugh, a moment of tenderness, a mystery for the reader to piece together.

When you create a fence, you keep people out, but you also limit your mobility.

There is a value to moving more slowly through a story.

I wanted to reexamine the idea of the album for generations of people who are not my age, who love music or learning about music or are finding this band called R.E.M. or have just previously heard "Losing My Religion" and "Everybody Hurts" as their elevator music. I wanted to present an idea of what an album could be in the age of YouTube and the Internet.

I don't think secrets are a bad thing. I think there's this idea that everything needs to be transparent in order for it to be free.

I also remember when I watched Henry: Portrait of a Serial Killer [1990] at, like, age 15. That scared the crap out of me. Because it didn't operate inside the usual conventions of the horror genre in the way that I could accept. I can accept horny teenager counselors being murdered at camp. But I couldn't accept the derangement of Henry: Portrait of a Serial Killer, which was that anyone could be murdered at any moment - whole families, with no build-up music and no meaning. It terrified me.

There's a structure to a detective story that I can easily understand. I understand playing that particular game. It's like solving a puzzle. Or creating a puzzle.

There are certain moments where artwork might seem like it's part of someone's career - if you really know the art world - , but I did my best to prevent that overlap.

I also wonder why is it that so many of the movies and books that are detective stories are also the most aesthetically interesting? From Hollywood noirs to horror movies like The Shining [1980].

Someone asked me when it was that I felt confident enough in my writing that I could rely on it as a career. The truth is, I never have. I'm always on the hunt for second, third, or fourth careers. Private detective and cinematographer were previous career choices, but now that I'm older I think I'd be a good portrait painter, rug merchant, or florist.

We've come under the influence of television, where in all honesty we can follow a show that could just get cancelled midway through the season and the entire plotline never resolves itself.

I smoke cigarettes when I write, which is disgusting, but it really helps me.

You find when you're writing a detective story that you're actually not trying to solve anything. You're trying to stop the reader from solving the puzzle.

There is something very romantic about the orphan figure in American literature.

It's just as political, what you do in the bedroom is just as political as what you do in public.

There’s a great scene in The Texas Chain Saw Massacre [1974] that I’m obsessed with: Sally is being chased by Leatherface with a chainsaw... And she runs into thorn bushes. And she’s getting tangled up in it because she’s running fast... But Sally needs to move slowly in order to get through the bushes - she will get farther faster by going slowly because her hair and clothes won’t get tangled and caught. There’s something really beautiful about understanding that, while someone’s chasing you with a chainsaw, you have to move more slowly in order to get away.

I was a very scared child.

In a lot of ways, work was my graduate school.

My dad liked more macho adventure books like Shogun or spy novels. My mother reads murder mysteries. In fact, so does her mother, my grandma. That's where I trace the familial line of murder mystery obsession.

One day I want to write a full-on horror book.

The Greeks really believed in history. They believed that the past had consequences and that you might be punished for the sins of your father. America, and particularly New York, runs on the idea that history doesn't matter. There is no history. There is only the never-ending present. You don't even have your family because you moved here to get away from them, so even that idea of personal history has been cut at the knees.

For me, cultivation of my own style really started by looking at people. There are just some really beautiful people in the world. When you're walking down the street, or you're at a restaurant, someone catches your eye because they have their own look. It goes way beyond what they're wearing-into their mannerisms, the way they smile, or just the way they hold themselves.

My strength is character. I'm pretty good at building walking-talking humans with brains like beehives.

It's hard for me to figure out where I want to be. But it's definitely in New York. I feel like New York throws different challenges at you and you can be more creative.

It's really hard to write about art in general. But it's exceptionally hard to fictionalize art and make work that isn't a parody, or is something that could withstand critique and exist in the art world as a valuable object, or a true piece.

I just think, as writers, especially with a book that takes years to write, you sort of wake up every morning hoping and praying that you can make it work for the day.

I'm ultimately not so much of a professor as a progresser. And I'm ready to move away from what I consider to be this weird mid-century dream that I feel pulls us as a country, and us as a culture, backward.

It's always surprised me that mainstream America had the good taste to like R.E.M. It doesn't have the digestible quality the general public tends to look for in its favorite musicians.

The first horror movie I saw, in first or second grade, was My Bloody Valentine [1981], where there's a deranged killer in a miner mask stalking a small coal town.

I had been going out to Orient for several years.

Going out into the country after living in the city is a loss of control.

It's always fun to welcome new people into your life. When dating anyone or becoming friends with anyone who has a different profession, a different life, it opens doors. All my friends here do such different creative things. It's so awesome.

People aren't doing whodunits anymore.

Safety, reputation, their lives, their friends, and their world. Writers typically try to avoid that because it's not expedient.

An album for me as a teenager in the '70s was a fully formed concept. It was a body of work from an artist I liked or trusted or who excited me. Maybe one of the songs is really poppy and you listen to it on the radio as a hit single and then more of the world is about to find out about this artist by buying the record.

I would stay at my grandma's house on my birthday every year and I remember she had a bookshelf of murder mystery books along with really frightening books, like one on Jack the Ripper. She also had a poster of a shark in the closet which also terrified me at the time.

There's something about fear and aesthetic that go hand in hand.

As much as I adore Agatha Christie - and I think people make this claim about murder mysteries in general - it's often a very conservative mode of storytelling. Usually it's the greedy, climbing, new-money slimeball who wants to take from the aristocracy.