A Quote by Alejandro Gonzalez Inarritu
Really, I'm a neurotic perfectionist. Every single word in the script is the one that I want.
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I'm a perfectionist and I want everything to be amazing every single show.
I try not to be but I'm super-neurotic about diet. I'm neurotic about trying not to be neurotic! I'm like every other girl. I have to try really hard my whole life to try to be fit. And I'm super-vain. And I want to wear cute clothes.
I try not to be but Im super-neurotic about diet. Im neurotic about trying not to be neurotic! Im like every other girl. I have to try really hard my whole life to try to be fit. And Im super-vain. And I want to wear cute clothes.
I always want to cut every single line, possibly, that is mine from the script. One of the first things I do on any script is to shred, shred and shred my lines.
I really think that reading a whole script is kind of prying and neurotic, don't you?
When I pick up a pencil, that this is a rough draft. This is not going anywhere, and no one's going to see it. You have permission to make all the mistakes you want. It signals freedom to me, and it signals mistakes. Then when I put it on the computer, a different part of my brain kicks in and I really evaluate every single word and sentence and make decisions. I like that step of polishing while I'm rewriting the entire thing, not just cutting and pasting. Really putting in every word and making a decision: is this something I can stand by?
When you're working on a script, every word that's on the page, somebody has to read it. Make every word count in your stories.
Perfectionist is sometimes the wrong word... It means like you're never satisfied, or you're upset by every single failure - any type of failure. And so for me, I don't look at failure as necessarily a bad thing as long as I'm able to learn from it and take something from it, so that next time I'm in that situation I know how to succeed.
I've done a number of films. I've been around this. I think the biggest challenge is just getting the script right, the way that you want the script to be. It's really about capturing the complexity of emotions and creating the kind of characters that people will want to watch every week.
I question every word; I write 'the' and immediately feel scorn. It's such an ordinary word - everybody uses it - why can't I come up with something original? In the sunlight, every single word seems hackneyed.
In the language of poetry, where every word is weighed, nothing is usual or normal. Not a single stone and not a single cloud above it. Not a single day and not a single night after it. And above all, not a single existence, not anyone's existence in this world.
I loved Married With Children. That was the job that against all odds - you know, when I first read the script, I thought, "No one will ever watch this, but I think this is so fun." So I was really happy to be involved in it. And we laughed every single day. It was the funniest 11 years. We really, really enjoyed it.
I'm afraid of making a mistake. I'm not totally neurotic, but I'm pretty neurotic about it. I'm as close to totally neurotic as you can get without being totally neurotic.
I don’t want to have to be like a Scarlett Johansson – who I have nothing against, but I don’t want to have to go on talk shows and pull out every single SAT word I’ve every learned to prove, like, ‘Take me seriously, I am intelligent, I can speak.’ I don’t want to have to do that. I resent having to prove that I’m not a retard – but I do. And part of it is my own fault.
Well, usually, when you're doing a sitcom, you get a script and every word or for the most part, is written. So, you know, if it's a 30-minute sitcom, then it's a 35-page script or something like that.
When I'm on tour, I'm in a new city every single night, and the energy and the crowds and the kids and the screaming and them knowing every single word of my music and being onstage is such an energetic feeling with a big payoff.
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