A Quote by Alice Sebold
I mean, if I went into my closet, I could find a previous draft and try to figure that out, but it takes a long time for me to find the voice to tell a story in. I was working from other points of view for a couple years there.
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It can take years. With the first draft, I just write everything. With the second draft, it becomes so depressing for me, because I realize that I was fooled into thinking I'd written the story. I hadn't-I had just typed for a long time. So then I have to carve out a story from the 25 or so pages. It's in there somewhere-but I have to find it. I'll then write a third, fourth, and fifth draft, and so on.
I used to work in TV and quit the job because I couldn't do it any more. I quite like taking my time over a film, five years is how long it takes me to work something out. And when you just do quick turnover, turnaround, I'm literally this is driving me mad, I want to find another living. I'll just have to find a creative way to tell the story.
By the time I got to school, I had already read a couple hundred books. I knew in the first grade that they were lying to me because I had already been exposed to other points of view. School is basically about one point of view -- the one the teacher has or the textbooks have. They don't like the idea of having different points of view, so it was a battle. Of course I would pipe up with my five-year-old voice.
I could take my time, and nobody was pressuring me to be a headliner. I could go up there, find my voice, and figure out what I wanted to do.
I write to find out what the story means to me, that is what I try to do especially with the first draft.
Sometimes films ignore other points of view because it's simpler to tell the story that way, but the more genuine and sympathetic you are to different points of view and situations, the more real the story is.
Some novels present a story form many points of view. Most movies tell only one person's side of the story. Sometime it's easy to use the strongest point of view, or find the character with the most dramatic experience. It depends on which themes the scriptwriter wants to explore.
When I did my first few television specials, my illusions were so advanced that it took a couple of years before the other illusionists could even figure out what I was doing, let alone try to imitate me.
My own view of myself was that I was small and innocuous, a marshmallow compared to the others. I was a poor shot with a 22, for instance, and not very good with an ax. It took me a long time to figure out that the youngest in a family of dragons is still a dragon from the point of view of those who find dragons alarming.
For me, the easiest thing to figure out is the story I want to tell, and the hardest thing is to figure out the voice that's gonna tell it. And that's why I finish very little.
I didn't want to tell the story of what makes two people come together, although that's a theme of great power and universality. I wanted to find out what it takes for two people to stay together for fifty years -- or more. I wanted to tell not the story of courtship, but the story of marriage.
I'm such an awful faker. Everything that comes out of my mouth needs to be the real deal. Not that I ever try to be deceiving, but sometimes it takes a while to find your voice and find what you want to say.
You could time a suburban story by your watch: it lasts as long as it takes a small furry animal that's lonely to find friends, or a small furry animal that's lost to find its parents; it lasts as long as a quick avowal of love; it lasts precisely as long as the average parent is disposed on a Tuesday night to spend reading aloud to children.
From what my friends tell me, apparently some guys can be pretty intimidated by me when they find out what I do. I find it funny because I try to be modest and I don't like to talk about gymnastics unless I am asked about it. But my roommates always take on my bragging rights and tell my life story to the guys we meet, which leaves me blushing.
I'm a late bloomer. It's taken me a long time to find my voice, and I think all the records I've made over the years, I was finding my voice, and that's part of the process.
To me, all guitar players can play, because I know they're getting to where they're at. It's a very hard instrument to accept, because it takes years to start working with it, that's first, and it looks like everybody else is moving on the instrument but you. Then when you find a cat that's really playing, you always find that he's been playing a long time, you can't get around it.
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