A Quote by Adrian Dunbar
I know a lot of actors who have said to me, 'who'd have thought you could put a two-shot on screen for twenty minutes and people would be absolutely locked in, how does that work?' Well it does work, when the story is great and you've got these fabulous twists and turns - so those are my favorite bits!
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I really wanted to work with Luc Besson. I'm a big fan of his. Did you ever see 'The Professional.' It was very violent. But a fabulous story, a fabulous movie, very well done. So that and two or three other projects of his that I've seen, I just thought if I had a shot to work with him I wanted to do it.
Once upon a time, began the story of you.Many perilous, wonderful, harrowing, brilliant, delightful, profound things happened.And yet—the most exciting twists and best turns are yet to come. And it absolutely does not matter how old or young you are.Like a bright carpet of wonders, enjoy the unrolling of your story.
This fear is one of the horrors of an author's life. Where does work come from? What chance, what small episode will start the chain of creation? I once wrote a story about a writer who could not write anymore, and my friend Tennessee Williams said, 'How could you dare write that story, it's the most frightening work I have ever read.' I was pretty well sunk while I was writing it.
Some people would ask: 'You are not the one who does the painting, or shot the work, how can it be your work?' But I was the one who chose which site we should use, and which assistant helps me to do the painting, or the shot.
A lot of comedians do bits where they say, 'I was listening to this song, and this person said this, and you know how they say that?' And I thought it would work better if I actually had a DJ put that song lyric right there. It makes it more dynamic, and it's more energetic.
I was over at Alison's [McGhee], I think we were playing Scrabble. I remember we were both complaining - yeah, we sound like whiners - about how hard writing is, and how we didn't have a story to work on. Alison said, 'Why don't we work on writing something together,' and I said, 'Eh, I don't know if I could work that way.' She said, 'Well, just show up here and we'll see,' and I said, 'Well, what would it be about?' She said, 'Duh, it'd be about a tall girl and a short girl.' So I agreed to come and try it for a day.
Theoretically, we know that the world turns, but in fact we do not notice it, the earth on which we walk does not seem to move andwe live on in peace. This is how it is concerning Time in our lives. And to render its passing perceptible, novelists must... have their readers cross ten, twenty, thirty years in two minutes.
I've got a lot of examples about moments where I thought something would work on film and it didn't work, but I never came to that decision with the film half shot, where I was stuck on a runaway train and couldn't jump off. On those occasions where I have admitted defeat, that this is not going to work, I haven't embarked on that project and made that movie.
When you write something you know, you're making a story that will work, whether or not there's bits taken. It's always funny to me when people say, 'Well, it's clearly autobiographical,' and I say, 'Well, how do you know my autobiography?' Certainly, there are things that are connected, but I just think it's a very interesting assumption.
No one is banging my door down to be a superhero. I don't know how good I would be. I have low bone density, so I don't know if anyone really wants to put me in a cape and chuck me out a window. But a lot of my friends, who are great actors and who come from film, are doing TV because that's where the opportunities are. For us, it does feel like it's similar to making the movies that we used to make.
Man, I have absolutely zero ability into narrowing absolutely any of my favorites into just one, but I have to say, I gotta go between Undertaker and Triple H. Other than all the obvious reasons, but the biggest one for me, those are the only two guys, I could make a mistake and it would be okay. I could put the trust of the match, the story, and absolutely everything into their hands and let go of my control. I'm a control freak (laughs). Those are the only two guys I can let drive and take my hands off the steering wheel.
One of my first things I was fascinated with when I got on set was how does Grant do all this Flash stuff? it looks so good as the end product, but how does the special effects team work? How does the visual effects team work?
I have spoken with people at the highest level of intelligence. And I asked them the question, "Does it work? Does torture work?" And the answer was, "Yes, absolutely."
I am straight forward; I am not manipulative; I am not two-faced. And I think that that has served me well in all of my roles, particularly as a diplomat, because people knew if I said something, I meant it. If I said no, I meant no, and if I said we could make this work, we would make it work.
In the best nonfiction, it seems to me, you're always made aware that you are being engaged with a supple mind at work. The story line or plot in nonfiction consists of the twists and turns of a thought process working itself out.
I want to know: How does a space suit on Mars work? Show me how it is pressurized, and how it is cooled. What's the glove design? None of that stuff can be bought off the rack. It does not exist. You can't just go to SpaceMart and buy those things.
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