A Quote by Amanda Seales
For my web series 'Get Your Life,' I wrote that and produced it and starred in it so that I could have a body of work that represents my voice as a writer and as a performer.
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He's my favorite! He wrote and produced, and starred in and cast all of his movies! Can you imagine? I get really excited when I talk about Charlie Chaplin.
I created, wrote, produced, and starred in my first-ever acting gig!
I produced and starred in 'Wake the Riderless Horse,' a short film that my buddy wrote and directed.
The term 'web-series' has a stigma attached to it because it was created at a time when the only web-series that were being created were being created by people who would have loved to have a television show, but they couldn't. So they created a web-series instead, on their own dime. And those series look cheap because of it.
When I get hired as an actor as opposed to a writer, one of things that's exciting for me is doing stuff I wouldn't normally do myself. So whether it's a kid's movie or a voice in animation or in this case - where I just get to be silly, it's a different kind of comedy for me. As a performer, it's a different pleasure than when you're writing or directing. As a performer, you're just in the hands of the director and you go with whatever they want to do.
Like, your body has to get used to being in front of people. Like - and you have to be like - you have to be kind of a ham, you know? Like, the thing about writers is they're generally self - comedy writers - self-loathing, sort of play small. And as a, like, performer, you have to think like a comedy writer but act like a performer.
The web of life is a beautiful and meaningless dance. The web of life is a process with a moving goal. The web of life is a perfectly finished work of art right where I am sitting now.
You get more out of doing a web series than a pilot, in some ways, especially when we were interviewing for writers. They had already seen what our show looked like, rather than something that we wrote that doesn't get picked up and they never see it.
I have never been in an ongoing series before and after series two I realized the writer has absolute control of your life.
And at the same time, you are of course a performer, but it's very important that you understand that your role as a performer is to get the best performance from those wonderful colleagues that you have the chance to work with.
One wouldn't want to say that what makes a good writer is the number of books that the writer wrote because you could write a whole number of bad books. Books that don't work, mediocre books, or there's a whole bunch of people in the pulp tradition who have done that. They just wrote... and actually they didn't write a whole bunch of books, they just wrote one book many times.
It's funny, because in deference to conventional wisdom, I spent my struggling writer years trying to suppress my naturally baroque literary voice and write clean, spare prose. I finally gave up and embraced my baroque tendencies when I wrote the Kushiel series.
If you just work on your upper body, you're not going to be a full-range dancer or performer. You've got to work in all directions as much as you possibly can.
Morality, it could be argued, represents the way that people would like the world to work, wheareas economics represents how it actually does work.
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.
Every writer knows that when you're imitating somebody - you know, you're sounding like Faulkner - you're doing pretty good, but your life in Hoboken isn't Faulkneresque. So you get that kind of shortfall between the actual experience of the writer and the things he's hungry to express and the voice itself.
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