Nick Hornby
Everything's complicated, even those things that seem flat in their bleakness or sadness.Collection: Sad
I can remember my father gave me a huge history of football for my 12th birthday - I used to read that a lot. I can remember thinking it was cool that something I was interested in even had a history. Most things I loved didn't.Collection: Birthday
Sequels are very rarely a good idea, and in any case, the success of the book changed my relationship with the club in some ways.Collection: Relationship
I used to go and see the Clash a fair bit. I did think they were dead cool, and very handsome.Collection: Cool
The natural state of the football fan is bitter disappointment, no matter what the score.
I'm quite gloomy. I just am one of those people, vaguely lugubrious.
When you see the poet laureate saying that every child should have read 'Ulysses' and that you're just giving up on children if you think it's elitist - does that include children with special needs or whose first language isn't English?
If you can get every kid to have found a book that he or she loves, then you've done a great job.
Dylan's 'Chronicles' is easily the best rock n' roll memoir ever written, as far as I'm concerned. There aren't many stories in there, but if you want to know where an artist came from and why he thinks the way he does, then that's the one.
I think firmly that art is no use to anyone unless it offers some kind of consolation or hope.
I miss independent record stores very much.
I always thought 'Of Mice and Men' was such a perfect book because there's nothing not to understand, but it's still really clever and moving and complicated, but everybody understands the complication.
Every time we pick up a book from a sense of duty and we find that we're struggling to get through it, we reinforce the notion that reading is something we should do, but telly is something that we want to do.
I love the detail about the workings of the human heart and mind that only fiction can provide - film can't get in close enough.
The best bit of novel writing is being allowed to write exactly what you want at the speed that you want, and to include as many different people and places and times as you want, working with pretty much only one person, the editor, whose job it is to get it in good shape for publication.
I think, always, with a new book, I get nervous. I think mostly it is because work is really important to me, and a book doing well is important because it buys you another one. Not because of the money but if you keep doing interesting work, work that people like, they will want you to do more, and offers that are interesting come in.
I don't want my books to exclude anyone, but if they have to, then I would rather they excluded the people who feel they are too smart for them!
We can't be as good as we'd want to, so the question then becomes, how do we cope with our own badness?
Radio football is football reduced to its lowest common denominator.
Youth is a quality not unlike health: it's found in greater abundance among the young, but we all need access to it.
It takes big business a couple of decades to work out how best to exploit a cultural form; once that has happened, 'that high-low fork in the road' is unavoidable, and the middle way begins to look impossibly daunting.
Typically, booksellers like to put things into neat little categories.
I didn't really want to write about music very much in 'High Fidelity.' I wanted to write about the relationship stuff, and the music stuff is kind of a bit of fun on top and something to frame it with.
Joni Mitchell's someone who has tried to make sense of her own world, sometimes painfully, through song.
I like writing about popular culture. It helps to place people. I think you can be really, really accurate if you know enough about it, and place people precisely.
People love Jane Austen, even though those books are absurd to us, because we like the clarity of it: we can see very clearly what Elizabeth Bennett has to overcome, what she has to deal with.
The whole purpose of books is that we read them, and if you find you can't, it might not be your inadequacy that's to blame. 'Good' books can be pretty awful sometimes.
I'm a reader for lots of reasons. On the whole, I tend to hang out with readers, and I'm scared they wouldn't want to hang out with me if I stopped.
Your failure to enjoy a highly rated novel doesn't mean you're dim - you may find that Graham Greene is more to your taste, or Stephen Hawking or Iris Murdoch or Ian Rankin. Dickens, Stephen King, whoever.
Jeremy Corbyn has proved popular with young voters in part because he has promised an end to austerity.
When someone says they've read your book 15 times, you think, 'Well, you should read something else.'
I have boys, and boys are particularly resistant to reading books. I had some success recently with Sherman Alexie's great young adult novel 'The Absolutely True Diary Of A Part-Time Indian.' I told my son it was highly inappropriate for him and one of the most banned books in America. That got his attention, and he raced through it.
I used to be a teacher, and I know how difficult it is to strike a balance between focused conversation and an atmosphere which prevents creativity and thought.
Lots of times when I'm offered things, I can't see how a story gets filmed. Either it's too internal or it doesn't have a strong spine.
'An Education' was a complicated piece of work because it came from a tiny essay, so it took me a while to find the story I wanted to tell and the characters I wanted to tell it about. That really only emerged after four or five drafts.
With 'Brooklyn,' I knew the story I wanted to tell, and I just had a very strong sense that if I turned the volume up a little bit, it could be something really special.
Sometimes when people are attached to a project, they need persuading to stay attached, and then, in retrospect, they're not the right person.
When you're adapting a novel, there are always scenes taken out of the book, and no matter which scenes they are, it's always someone's favorite. As a screenwriter, you realize, 'Well, it doesn't work if you include everyone's favorite scenes.'
I only want to write books and movies about women.
Why are we scared of a '50s weepie? Why are we scared of a movie that pulls you in and punches you in the stomach?
We don't feel duty-bound to get all the way through a TV program. If we're not enjoying it, we turn over. Movies, we tend to give more of the benefit of the doubt because they're only 90 minutes or two hours. But books, there is this thing of, 'It's a book. I've got to finish it.'
Once you create this thing between duty and reading, it's over. Reading's over.
The whole point of reading is that the writer is speaking to you, and if you're not listening, you're not going to have any fun reading.
If you're reading a novel that was written in 1964, you'll find out more about 1964 than if you're reading a nonfiction book written in 1964 because you're hearing how language was actually used and hearing what people's actual concerns were at the beginning of the 1960s.
I think the moment you're writing about somebody who's not exactly you, then the challenge is all equal.
My computer is littered with abandoned projects.
In a way, novel writing is such a permanently student lifestyle. When it comes to movies, and you have to go to these meetings and try and impress people and get money out of them, I feel as though I'm playacting at being somebody who's grown up.
I think it's weird when you become rich at 40.
It takes me two to three years to write a novel. A screenplay is 100 pages and takes five years.
However varied you try to make your work, you still bump up against the end of you. You keep knocking into a wall, and the wall is your own skull. But when you adapt somebody's work, it's like a door into somewhere else. It feels like a holiday from myself.