Leni Quotes

#1. Leni Riefenstahl was the one person Goebbels had no control over in the filmmaking community of Nazi Germany, and they despised each other. But because she was Hitler's favorite, she could do what she wanted. She was the only filmmaker that did not have to cow down to Joseph Goebbels.

Quentin Tarantino

#2. I cut hundreds of pages from my book because I felt myself being reiterative or redundant. Sometimes I wanted to leave just hints of things.

Leni Zumas

#3. I was fascinated by the effects that could be achieved by editing. The cutting room became a magic workshop for me.

Leni Riefenstahl

#4. I don't know whose sensibility I'm responding to. Until someone starts pushing against what they've inherited and starts making their own decisions about language, it's difficult.

Leni Zumas

#5. If a synesthetic person says the letter a is green, it can't ever be anything but green.

Leni Zumas

#6. For me, the genders are an essential element of numbers and letters, not something that could be removed from them.

Leni Zumas

#7. It just fascinates me, those private mechanisms that we use to make sense of the world - whether they have to do with the five senses or not. I think literature is one of the only kinds of art that truly lets us into that.

Leni Zumas

#8. In my writing classes, I don't outlaw any genre writing.

Leni Zumas

#9. So often we think of a wound or a loss as making a person feel more deeply, become a better person. But I don't think that always happens. I think it can constrict people's lives, especially if they don't push beyond it.

Leni Zumas

#10. The act of language or the act of denying language carries its own heaviness.

Leni Zumas

#11. In general, teaching writing makes me a far better reader because there's so many ways to write a good sentence or a good story, and as a teacher I'm obliged to consider them all, rather than staying in the safety of my own tendencies.

Leni Zumas

#12. I am a great admirer of Robert Vavra and love his beautiful photographs and books. He is a wonderful artist, a poet ...

Leni Riefenstahl

#13. The applause was so loud and insistent that I had to respond with several encores. I was numb with happiness, when it was over, I knew that this alone must be my life and my world.

Leni Riefenstahl

#14. Whether consciously or unconsciously, I felt myself drawn to writing a female character who was pretty flawed and not very virtuous or wonderful or attractive in these ways that throughout literary history we've come to expect female characters to be.

Leni Zumas

#15. When I watch students make particular decisions about language, structure, and form, it sharpens my own thinking and my own development as a writer.

Leni Zumas

#16. I feel as though I have lived many lives, experienced the heights and depths of each and like the waves of the ocean, never known rest. Throughout the years, I looked always for the unusual, for the wonderful, for the mysteries at the heart of life.

Leni Riefenstahl

#17. As someone who played music and never got famous, and remembers little fragments of that, I don't remember life as a dramatic flamboyant thing.

Leni Zumas

#18. I set about seeking a thread, a theme, a style, in the realm of legend. Something that might allow me to give free rein to my juvenile sense of romanticism and the beautiful image.

Leni Riefenstahl

#19. Through my optimism I naturally prefer and capture the beauty in life.

Leni Riefenstahl

#20. In undergraduate classes, I often see writers who are still simply imitating. I mean, we all imitate - that's how we learn to speak or write in the first place - but they're writing a Dean Koontz novel or something.

Leni Zumas

#21. Portland is a pretty magnificent place to live.

Leni Zumas

#22. They kept asking me over and over again whether I was
having a romance with Hitler. Are you Hitler's girlfriend?
I laughed and answered the same way each time: No, those
are false rumours. I only made documentaries for him ...

Leni Riefenstahl

#23. In my short stories there's a lot of focus on people successfully and not successfully responding to some sorts of discomforts or instabilities.

Leni Zumas

#24. I'm always interested in encountering people who are synesthetic and seeing how they experience things.

Leni Zumas

#25. Everywhere I went I experienced the same success, which transcends words.

Leni Riefenstahl

#26. I started reading contemporary fiction in college or right after college. It wasn't as if I was steeped in experimental minimalism when I was twelve or something. I was reading The Witch of Blackbird Pond.

Leni Zumas

#27. Another obligation that I have as a teacher is to make available to students a range of options and devices and approaches, rather than saying "well here's one way to do it and that's the only way that's good."

Leni Zumas

#28. Sometimes you just feel like you could work forever on something and never know when it's done.

Leni Zumas

#29. I am fascinated by tiny, incremental changes, almost imperceptible shifts in how people orient themselves in the world, because those are in some ways the most hopeful.

Leni Zumas

#30. Part of being a writer is feeling that constant dissatisfaction, thinking about what else you could do, and also knowing when it's time to leave a project.

Leni Zumas

#31. I am fascinated by what is beautiful, strong, healthy, what is living. I seek harmony.

Leni Riefenstahl

#32. Synesthesia has interested me for a long time, both as a literary device and as a puncturing of the membranes that organize how the world comes into someone's head.

Leni Zumas

#33. I want to see, that's all. This is my life. I want to see.

Leni Riefenstahl

#34. How awful for them [Hitler's victims] to see those swastikas, the SS men and the SA - people we'd never thought of as criminals.

Leni Riefenstahl

#35. There's always something else to work on and different solutions to these problems in the next thing. We each have a certain set of obsessions which we each cycle through.

Leni Zumas

#36. Giving the reader the space to move around and be active, and encourage their active response is important to me. That will connect the reader more to the text.

Leni Zumas

#37. Even while I was working on the novel I would also write short stories as relief, just to be in a wieldier world that could negotiated more easily and more quickly. In the novel, I even changed the narrator from a man to a woman.

Leni Zumas

#38. I find myself writing protagonists who do feel pretty cut off from others but who want to make connections and aren't very good at it.

Leni Zumas

#39. Life is a series of boring interludes between meals.

Leni Bogat

#40. I felt sure about wanting to look at a person's life that had been limited or damaged, but not necessarily ennobled, by loss.

Leni Zumas

#41. I have what I came to find in my research is a mild form of synesthesia, though I never would have labeled it as such. It's how I think about numbers and letters. They all have inherent genders.

Leni Zumas

#42. There's relief in white space for the reader.

Leni Zumas

#43. Even in so-called realist or conventional writing there can be defamiliarization.

Leni Zumas