A Quote by Diane Arbus
If I were just curious, it would be very hard to say to someone, I want to come to your house and have you talk to me and tell me the story of your life. I mean people are going to say, You're crazy. Plus they're going to keep mighty guarded. But the camera is a kind of license. A lot of people, they want to be paid that much attention and that's a reasonable kind of attention to be paid.
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I would say plotting is the most difficult thing for me. Characterization is only hard because sometimes I feel I get so interested in it that I want to talk too much about the characters and that slows the story down. So I say, "Hey, people want to find out what's going to happen next, they don't want to listen to you spout off about this or that person." But I think even the bad guy deserves to tell his side of the story.
You come here to tell us lies, but we don't want to hear them. If we told you more, you would have paid no attention. That is all I have to say.
I don't know if there's any secret recipe. Just a lot of hard work. Pay attention to your constituents. I always had a great Iowa staff that did all my great constituent service work. And I found that people would forgive me for a lot of my "liberal sins" because I paid attention to the home front.
Dialogue is really aimed at going into the whole thought process and changing the way the thought process occurs collectively. We haven't really paid much attention to thought as a process. We have engaged in thoughts, put we have only paid attention to the content, not to the process. Why does thought require attention? Everything requires attention, really. If we ran machines without paying attention to them, they would break down. Our thought, too, is a process, and it requires attention, otherwise its going to go wrong.
I know people haven't really paid attention much to me in the past. I had to establish myself, and I have. Of course, now I'm getting the attention, which I like it. Not going to lie.
I have always tried to teach my players to be fighters. When I say that, I don't mean put up your dukes and get in a fistfight over something. I'm talking about facing adversity in your life. There is not a person alive who isn't going to have some awfully bad days in their lives. I tell my players that what I mean by fighting is when your house burns down, and your wife runs off with the drummer, and you've lost your job and all the odds are against you. What are you going to do? Most people just lay down and quit. Well, I want my people to fight back.
When you have any kind of success in life, that's like the most dangerous moment that you're in because you're going to tend to think wow, I can just keep repeating what I've done. I'm a great person. People love me. All of the sudden they're giving me all of this attention. You get drunk on it and you lose your sense of balance and your sense of detachment. I know it's happened to me.
Why would anybody connect to someone who has everything going for them? It's the person who has faults that people want to connect to. So people identify with certain insecurities on stage and just by me talking about my diabetes people come up to me after the show and tell me "Gabe, my blood sugar is out of control and I feel you". That's the first thing they say, they say "I feel you!".
Although we do come from a silent profession, it is important for us to verbalize what we want to say. (As I tell my students): you could love someone all your life, but if you never say it how are they going to know? There comes a point when you have to say what you mean, which makes you scream louder when you dance.
I am very excited to work with people who have a strong vision of what they want. They're trying to tell a story, and they want to use me. I'm there to facilitate that. I really like that. I'm like, "Tell me where your frame is. Tell me what you want, what kind of story you want, and I will facilitate it." That's sort of my job, and it makes my work better when I'm working in that kind of a frame, and hopefully it's their work. It's incredibly collaborative, in the sense that you're working toward a common goal.
I think the business of writing a great deal of it is the business of paying attention to your characters, to the world they live in, to the story you have to tell, but just a kind of deep attention and out of that if you pay attention properly the story will tell you what it needs.
After a while, you just want transportation, and things like cool cars or motorcycles are all about getting attention. I get all the attention I could ever need, so I kind of like being in a minivan and people not paying so much attention to me.
I always have a notebook with me, I eavesdrop; I write down what people say. It's very rare that one of those things will provoke a story, but I think that that kind of paying attention all the time, and keeping everything open, lets the stories come in. But where they come from is still a mystery to me.
As soon as you start to think of that thing that you want to convey or say, you can always just say it much better than you can actually rhyme it or stuff it into a song. It's very, very difficult to just kind of get your point across without going the back way. And you have to be good at that, to not think about things so hard. Let the pen take over, so that it's somebody else's job to dissect the lyrics and tell you what you're all about.
If I were to go the major route, again, attention would probably be the first and foremost. You want attention, you want support, you want to be treated properly, and I don't wanna have to go anywhere and teach people how to treat me. As far as money, acclaim and fame, those things are a plus - accolades - they're all great.
A friend gave me a drug for attention deficit disorder, because he's afflicted, but I'm not. So what happened to me is I suddenly had an extra-long attention span. People would tell me a story, and it would end, and I'd get all mad. "Come on, man, there has to be more to that story."
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