The moment a man begins to talk about technique that's proof that he is fresh out of ideas.
Interpretation
This quote suggests that focusing too much on technique may indicate a lack of creative inspiration.
Raymond Chandler's quote reflects the idea that when a person overly emphasizes technical skills or methods, it might be a sign that they have run out of innovative thoughts. Creativity often thrives on originality and fresh ideas rather than on rigid techniques, and this statement serves as a reminder that artists and creators should prioritize their unique vision over mere technical proficiency.
In practice
An art teacher might use this quote to encourage students to focus on their personal style rather than just techniques.
Undoubtedly the stories about them [hard-boiled detectives] had a fantastic element. Such things happened, but not so rapidly, nor to so close-knit a group of people, nor within so narrow a frame of logic. This was inevitable because the demand was for constant action; if you stopped to think you were lost. When in doubt, have a man come through a door with a gun in his hand.
There was a desert wind blowing that night. It was one of those hot dry Santa Anas that come down through the mountain passes and curl your hair and make your nerves jump and your skin itch. On nights like that every booze party ends in a fight. Meek little wives feel the edge of the carving knife and study their husbands' necks. Anything can happen. You can even get a full glass of beer at a cocktail lounge.
Organized crime is the dirty side of the sharp dollar.
When in doubt, have a man come through the door with a gun in his hand.
The flood of print has turned reading into a process of gulping rather than savoring.
If my books had been any worse, I should not have been invited to Hollywood, and if they had been any better, I should not have come.
Entertainment has to come hand in hand with a little bit of medicine. Some people go to the movies to be reminded that everything's okay. I don't make those kinds of movies. That, to me, is a lie. Everything's not okay.
When you're writing, in theory, everybody is serving you. When you're directing, you're serving everybody - in the guise of acting like everybody's serving you. But you're really serving the materials. You're serving the actors. You're in charge, but it's not free.
The country that I was coming from, the island I was in, hadn't been written about, really. So I thought that I virtually had it all to myself, including the language that was spoken there, which was a French Creole, and a landscape that is not recorded, really, and the people.
When I write, I don't know what is going to emerge. I begin in a condition of complete unknowing, an utter nakedness of concept or goal. A word appears, another word appears, an image. It is a moving into mystery.
As a novelist, where do you go to tap into memories, and impressions, and sensations? It's usually, in my experience, your early life, before you started thinking of yourself as a writer, because somehow those experiences are unadulterated.
The thing that I love most about being on stage is making people happy...It's my job to do that, and I enjoy it.
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