A Quote by Meg Rosoff
Teenagers are very dark, I think. That's all the goth and emo stuff. They're experiencing a lot of stuff that adults experience, but in a much more raw way. It's that extremity that I'm interested in, to be able to go down so far and come up so quickly.
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Creative work is more accurately a machine that digs down and finds stuff, emotional stuff that will someday be raw material that can be used to produce more stuff, stuff like itself - clay to be available for future use.
I think the internet is kind of redefining what it is to be a teenager. Because there's a lot of media that's aimed at teenagers that other people are getting into. But, conversely, pornography or stuff that's intended for adults is completely readily available to anyone, like teenagers.
I like dark music and I want to wear those goth clothes in school. And I suddenly discovered this whole world of music that I totally loved. The Cure was my favorite band, even though they're not specifically a goth band. I was listening to everything from The Cure to Depeche Mode to Siouxsie and the Banshees and Bauhaus and all of that stuff. It was just this release for me. I was able to channel a lot of my loneliness and my feelings of being misunderstood, and I could go into this world where it was okay to be really eccentric.
I was able to come up with a couple articles for the magazine, I was able to solicit help from a bunch of my friends to contribute pieces: Patton Oswalt, Seth Green, Emo Phillips, Chris Hardwick, John Hodgman, and more. It's very much a "Weird Al" themed issue, so I'd like to think that there's a lot of "Weird Al" flavor throughout but I think it'd be generous really to call me an editor.
I just like stuff that's raw, itself, real and genuine. I think that's the way art should be. That's the kind of stuff that people can connect to more.
For sure, you don't believe the good stuff. I mean, the good stuff is just insane - wacky. If you don't take it too much to heart, it does help when the negative stuff hits. And you know the negative stuff is coming. It's got to! What comes up must come down.
That's the great thing about being an actor: Stuff shows up that you never thought was going to go down. You get to play or experience an area of the world that - you know, I live a pretty simple life, I'm not much of an adventurer. I like my couch and my television. So when stuff comes up in the job, it's a good deal.
I always kind of aim with the action stuff to make it feel like, as an audience member, you're experiencing what the people are experiencing. As soon as you go into slow-mo or repeated edits, shooting it like it's a stunt, it takes it out of that reality. The more real you make that stuff, the more tense it will be.
I'm definitely incredibly attracted to the aesthetic of what is typically deemed goth stuff, but. A lot of my experience growing up was in being around that kind of thing, and it's just what sinks into a person's brain.
Teenagers watch and listen to all kinds of things. It is the nature of being a teenager to seek out intense stuff. Stuff about death and sex and love and fear. Teenagers are the bravest, most curious, most philosophical, most open-minded readers there are, which is why so many less-than-young adults like writing for them.
I was young, but to me that was underground music. I had never heard anything like Venom or any of that stuff growing up in Louisville. That was sort of the only weird records I could find. All that stuff would be in the import section. And sometimes there would be some sort of goth type of stuff. But that was the stuff I was attracted to.
I have done a lot of animated stuff over a 30-year period, and you do have to go much bigger on that stuff in order for it to come across.
It is very important to embrace failure and to do a lot of stuff — as much stuff as possible — with as little fear as possible. It’s much, much better to wind up with a lot of crap having tried it than to overthink in the beginning and not do it.
What I think is important about essayists, about the essay as opposed to a lot of personal writing is that the material has to be presented in a processed way. I'm just not interested in writing, "Hey, this is what happened to me today." You get to a place that has very little to do with your personal experience and talks about some larger idea or something in the culture. I don't think you can get to that unless you have had a lot of time to gestate and maybe if I was taking a lot of notes while stuff was going on, I wouldn't be able to get to that place as easily.
We're charlatans in a way, we're magic people. Part of the behind the scenes stuff is to loosen you up, to make you feel that you are experiencing this. This is my style, I did it in Looking for Richard, too. And I figure, if I can weave it into the actual play and get the audience interested, like the robes going up and down, they'll pay attention long enough to consume it.
Being able to tour and experience all of the stuff that comes from touring, and then being able to come back to Nashville, it's almost like therapy to be able to get into a session and talk about all of the things that I'm going through. It's so much more real to me.
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