A Quote by Pearl Cleage
When I got to the end of this play, I realized I was trying to make Angel do something that had not been justified by the characters and by their story . . .. I kept trying to force it, but that doesn't work. So I had to come to terms with what it meant for me to create a character who doesn't triumph.
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I think my sensibilities about storytelling and character just automatically come into play when I'm trying to work on any kind of narrative. For me, it doesn't really matter what the source of the narrative is. I will be looking for ways to make it into an intriguing story with empathetic characters.
Suddenly, I realized how tough trying to structure a story like this is. It was a lot of work. The one big advantage that we had was that we had eight scripts written before we started shooting, or even started casting. We had a really good opportunity to look at it and figure out where we were going to go and how to do it. Once we got a cast, which I love, then we started doing some revisions to make sure that they fit into it.
Especially with a comedy, you've got the clear cut goal of trying to make a scene funny. It's not like drama where you're trying to achieve some kind of emotion or trying to further the story along. You're trying to figure out what's the funniest way to do something.
The Circle had been less than thrilled by its choice, but we'd finally come to terms. As in, they were no longer trying to play Whac-A-Mole with my head. Only now they seemed to think they had the right to make sure that nobody else did, either. That was a problem, because the vampires felt the same way and the Senate didn't share well.
Sometimes, I have themes that interest me or that touch on larger issues but, really, I'm just trying to figure out the plot, or how the characters work. I'm trying to make the best story I possibly can.
My advice is: to try and stay really true to the things that make YOU laugh, as opposed to trying to create a character that you think is funny. Some comedians get into bad habits when they are trying to create something that is not them, and they are trying to write a voice that isn't their true voice.
I used to edit myself. If something seemed super-simple I had to make it more complicated. Now I'm trying to let what's in there come out and acknowledge where I come from. I'm trying to make it more. ..true.
The violence for me is never meant to be entertaining. It's meant to hurt the characters and I'm trying to show the impact it is having on the people involved with it. If there is cathartic violence at the end, then it costs the protagonist something. It's not just a blaze-of-glory moment.
Mahlia... understood Doctor Mahfouz and his blind rush into the village. He wasn't trying to change them. He wasn't trying to save anyone. He was just trying to not be part of the sickness. Mahlia had thought he was stupid for walking straight into death, but now, as she lay against the pillar, she saw it differently. She thought she'd been surviving. She thought that she'd been fighting for herself. But all she'd done was create more killing, and in the end it had all led to this moment, where they bargained with a demon ... not for their lives, but for their souls
I spent the whole time I've been in WWE trying to build this character who is unbreakable, who is not vulnerable, and who is not relatable. For me to let down my guard and let people in, I had to make that decision, and once I did, I had to own it.
Always when I directed the play, I was always trying to cast people not who were necessarily like the characters, but people who I felt had the essential component that the character had, some kind of soul for it.
I'm trying to make really flawed characters that have got redeeming features so people can say, 'I don't really like that character, but I can understand a bit where they've come from.'
It took me ten years to write a proper story. I floundered about trying to shape something, counting on the 'feeling' I had as I wrote, only to discover upon rereading my work that the feeling had disappeared, and what remained was an empty shell.
I used to get stuck trying to find the first sentence of a story, then I realised that it was often because I didn't know what problem a character was facing in the story. As soon as I did, I could have the character trying to do something about it or have the problem whack him between the eyes.
Work is a means; it is not an end. And for any tasks that can be performed or eliminated by a capital instrument, human labor is not the best means... Furthermore, we have science, engineering and management - the three disciplines - that really plan and control the production of goods and services, trying to eliminate labor. Who the hell is government to come along and try to create labor? The people who are producing wealth are trying to eliminate toil, while the politicians are trying to create it.
Patrick Swayze had done The Outsiders already - he was certainly the star of our class - and for a big, sexy, horseback-ridin' Texan to come over and tell me that I'm beautiful, and look me right in the eye and make me accept that there's a beauty in the characters I play meant so much to me.
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