A Quote by Adrienne C. Moore
I think there's this idea that if we put up a play with all African-Americans or all Latinas, or even if we mix it up, then it won't really sell to a mainstream audience. At the end of the day, what's going to drive the story being told is what's going to drive people to the seats.
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I really put my heart and soul into everything and I don't want a project that doesn't feel real to me or I don't get invested in. In order to drive a show for eight or 10 years or whatever the target for doing a show is, it really has to be a part of you. Because then I can come up with stories for seasons and seasons on end. I wish I had the ability to just like the idea and get people in and drive it that way through their enthusiasm. For me, it has to be a little more of a personal thing, even if it's not a completely personal story.
You make other team think you going one way and you got to sell the move going that way and you've got to really make them think that you're going that way and they're going the other way. When it ends up ultimately being a perfect crossover is when you shake them so bad that they can't even get back into the play to play defense. You're already gone. That's what I think the perfect one is to where a teammate of his has to stop you from scoring.
I have not chosen to create a linear story, but a series of different narratives: in the end there are five plays that almost, but don't quite, add up to one play... I start with the story of Candide, being performed as a play within a play, to bring the audience up to speed with the story.
Mexico is not going to build it [a wall], we're going to build it. And it's going to be a serious wall. It's not going to be a toy wall like we have right now where cars and trucks drive over it loaded up with drugs and they sell the drugs in our country and then they go back and, you know, we get the drugs, they get the cash, okay, and that's not going to happen.
I don't approve of censorship. I like the French theatre idea. Put on the play, and if the audience doesn't care for it, or feels offended by it, they rip up the seats.
I think sharks are beautiful creatures, and I don't think we should stop going in the ocean because of them. You drive down the road and you get in an accident, but most people end up driving down the road again. Surfing is you're going into their home and it's just a natural part of life.
When people downloading records for free you start to think, "Is it worth spending all this money to make a record sound good, especially if it's going to end up as an mp3?" But I can't drive myself too crazy thinking about that. On one level, being involved in art is all a quixotic thing to begin with.
If I don't have the drive and determination to wake up every day and train with young, hungry fighters, if I don't want to do that, then I need to get out of the game, but as long as my body says I'm all right, and my hunger stays the same, I'm going to keep going.
You make something, and you really have fun with it, and you try to put emotion in it, and at the end of the day, you have no idea how the tide is going to fall. You don't know if everyone's going to like it, if everyone's going to hate it, if it's going to be like you're a media darling, or all of a sudden you're a sellout. You have no idea.
You can do all of the world-building you want; at the end of the day, what's important is the heart and the drive of the story and the heart and the drive of the characters.
In a typical day, I would wake up about 8 A.M., pile all my stuff into my mom's minivan - my guitar, my amp, CDs to sell, a table and a rug - drive it down to the street, and unload it all. I'd wait until about 12, then play for two hours. You could only play in two-hour intervals, so then I would move it all somewhere else.
Thankfully we had a big drive there in the fourth quarter after the fumble to put us up 11, and then the big drive to finish the game.
I just do my best to put the ball in play and put it in play where no one's going to make a play on it and hopefully drive some runners in.
Any time I put together a story collection, I don't know what it's going to look like overall - or even what the title story is going to be. Over time, I end up with a dozen or so stories, and I start to see a shape to them, how they fit together, and then I write stories that complement or extend that shape.
People ask me a lot about my drive. I think it comes from, like, having a sexual addiction at a really young age. Look at the drive that people have to get sex - to dress like this and get a haircut and be in the club in the freezing cold at 3 A.M., the places they go to pick up a girl. If you can focus the energy into something valuable, put that into work ethic
I always think about which blood drive was going on in Georgia that day when that husband or mom or school teacher rolled up their sleeve and actually gave me a second chance at life. It's the ultimate gift of life, and I'm the one who was on the other end.
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