A Quote by Alan Menken
I work in a dramatic context, meaning we write with a lot of character specifics, a lot of story specifics. There's a lot of architecture in our songs.
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[Donald] Trump has quietly rolled out an immigration plan with specifics and everyone wants specifics. He's got immigration with specifics, a black and Hispanic outreach plan with specifics.
"Real" drawing is about specifics. It's about describing an object as accurately as possible. In a comic strip you have to draw a picture of the idea of the object. You have to draw the word that you are picturing, then you have to mix in specifics with it for it to work as a story. But you are still working with drawn words.
When you have a lot of opportunities, which I am blessed to have had in terms of my work, you get into the habit of not paying attention to certain specifics. And as we get busy, anything we do is the same thing.
I think we go through the world feeling alone and singular, and you forget that your one story is probably the same as millions of people's stories. Maybe with different specifics. But a lot of people experience the same things.
When it comes to improv, Specifics beget specifics.
A military preparedness strategy with specifics yesterday and today rolls out a school of choice plan with monetary specifics. So [Donald Trump] has pivoted over the last, he had a very rough go after the conventions.
Readers want a story, not a pattern. It's the specifics of a story that make it really ping our various reader radars.
I feel a lot more comfortable being me these days. I'm constantly told that my work is good. A lot of fans and a lot of other artists say my songs and albums mean a lot to them. Isn't that what's important?
Avoid context and specifics; generalize and keep repeating the generalization.
I feel like a lot of serious music lives in generalizations - 'Love is a flower,' 'The sky is so dark' - but comedy lives in specifics.
You make adjustments according to the specifics of the character.It's something I feel like a lot of my comedic heroes have always done. It's not even necessarily vulnerability, always, but it's an earnestness, a genuine desire to actually do the right thing, but then still make really misguided, stupid decisions along the way.
I write 3-4 days a week, 4-5 hours at a time (with lots of breaks). My goal is 2000 words when I sit down to write and usually, I hit that, though it can take anywhere from 3-7 hours to get there. I usually know the basics of where the story is going, but the specifics just sort of come to me as I write.
As I've said, I've been advised not to get into the specifics out there. Is there some truth out there? Yes. Is there a lot of falsehood out there? Absolutely.
I had a lot of success in big tournaments as well - won Masters Series in Rome - so a lot of things are coming together. I've done a lot of hard work in the off-season. A lot of physical work, a lot of work on my serve and on my return game.
You know a lot of what worked on this was taken from Harry Potter 2, the little Doby character, we had a lot of our skin stuff worked out and that helped a lot. We have a lot of exchange happening.
As a person of color, I was trained from very early on to see 'Leave It to Beaver,' 'Gilligan's Island,' or 'Hamlet' and look beyond the specifics of it - whether it be silly white people on an island or a family living in Nowheres or a Danish person - to leap past the specifics and find the human truths that have to do with me.
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