Once upon a time there was a physicality to the business of investigating a serious crime. There were objects, pieces of paper, even good old-fashioned fingerprints. Today it's different. Because all of us are routinely and voluntarily giving the intimate details of our lives to all kinds of people whether we realize it or not.
Hopefully, the stuff that is way too personal that I record and keep - people won't hear it because it's way too personal.
I don't know who took what. That is pretty private with an individual.
I think it's difficult, if you're a quite private person like I am, to write about your life very intimately.
For me, 'risky' is revealing what really happened in my life through music. Risky is writing confessional songs and telling the true story about a person with enough details so everyone knows who that person is.
The little idiosyncrasies that only I know about: that's what made her my wife. Oh she had the goods on me too, she knew all my little peccadilloes. People call these things imperfections, but they're not. Ah, that's the good stuff!
Just how difficult it is to write biography can be reckoned by anybody who sits down and considers just how many people know the real truth about his or her love affairs.
I feel like my songs are like diary entries for me. So I usually write about things that have happened to me specifically or sometimes it can be someone who's close to me.
I don't think that you should be perfectly candid and frank about the intimate details of your personal life with the public at large. Subsequently, it creates considerable personal problems.
The story of my life has been of public interest, which is why I've been so passionate about having a private identity. When I step into a character, people have to be able to suspend their disbelief; they have to be able to divorce me from Hermiona. And not having everyone know every single intimate detail of my entire life is part of me trying to protect my ability to do my job well.
There will always be a slight difference between the reel and the real. Even my family might know 99 per cent about me, but there will be this one per cent about me that nobody will ever know. Being in this profession, I am fine with biopics or movies inspired by real-life-characters.
And I don't care if you're talking about things that are true, you're still talking about my personal life. How about I go peek in your window, take what underwear you wore last night, whose husband you were fucking, and shove that in the megaphone throughout your neighborhood? How does that feel? It's none of your goddamn business.
When writing 'Behind the Mask,' I opened up on every level. Hopefully, even the more knowledgeable fans, who really know me, will be surprised when they read it.
Much still remains to be learned about his sex life because the Hummingbird is quicker than the eye.
I didn't even know my bra size until I made a movie.
A hidden nerve is what every writer is ultimately about. It's what all writers wish to uncover when writing about themselves in this age of the personal memoir. And yet it's also the first thing every writer learns to sidestep, to disguise, as though this nerve were a deep and shameful secret that needs to be swathed in many sheaths.
In Hollywood now when people die they don't say, 'Did he leave a will?' but 'Did he leave a diary?'
I'll often use my real stuff in my writing because it comes across as more authentic.
It feels intensely twisted to see reigning industry queen Jenna Jameson chilling out at the Vivid booth in Jordaches and a latex bustier and to know already that she has a tattoo of a sundered valentine with the tagline Heart Breaker on her right buttock and a tiny hairless ole just left of her anus.
Some of the biographies [of princess Margaret] were really sensationalist, News of the World sorts, but they were great because they also gave first and secondhand accounts of her at home. The butlers come forward and give little moments, some of which you discard and some which ring somehow true and you use.
Gossip, even when it avoids the sexual, bears around it a faint flavor of the erotic.
There's always something personal, no matter how big or small the story is.
I have been subjected to unwarranted and invasive scrutiny of the most intimate and private details of my being.
The big biography of Lincoln necessarily had to do so much with his political career, his ambitions, his accomplishments in public, with less time to spend on his private life, his inner life, and I thought this might be a way of getting at that.
The line between private and public lives is a fertile one for me. I've lived quite a public life, and it's the reason I have used well-known people in my work. I'm interested in what's going on beneath the facades they present to the world, taking them to a place which is uncomfortable.
