A Quote by Arthur Slade
The writer's goal is to try to make it frightening without describing it too much, and yet not making it so grey that you don't know what's going on... Your imagination can imagine all sorts of really horrible things, and if you're able to prolong that feeling, then you've succeeded.
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There are two aspects to making movies: One is the feeling of wanting to push myself into stuff that I don't know how to do. Then there's the other impulse to try and earn a living. I want to be careful about not confusing those too much - not that those things can't have a healthy overlap. Plenty of people start out making work that isn't terribly commercial, and then make work that's more commercial but still good. You just want to watch out for that thing where you tell yourself that you're doing your best work when you're not.
As a writer, my goal, (which I'm never going to achieve, and I know that, and no writer can achieve that,) but my goal is to make you almost live the books. I want you to fall through that page and feel as if these things are happening to you.
I don't know what the next American revolution is going to be like, but we might be able to imagine it if your imagination were rich enough.
So I don't really focus too much on that, and I think it's dangerous if your goal in life is to get the other guy, then you're not going to be doing a really quality job yourself.
If you say, 'I'm going to cut this song because I know the teenagers are going to love it,' well, then you're going to alienate everybody else. When I cut my record, I'm just going to cut the things that I like, and whoever likes it, likes it. That's too much work to try to figure out the demographic. That's too much like a business.
I say too much of what, he says too much of everything, too much stuff, too many places, too much information, too many people, too much of things for there to be too much of, there is too much to know and I don't know where to begin but I want to try.
If you had the perception that you are very stressed out then your grey matter was fully 20 per cent smaller in volume than people who did not have that same feeling. This is the grey matter in your prefrontal cortex: It controls thinking, learning, planning, decision-making. That matters because when we are feeling more stressed, that is when we are at our most vulnerable in our inability to think our way out of it.
Get yourself out. Be brave. Don't leave before you're ready, because you should know that you tried everything. So there's a conviction and a confidence when you step away from something that may or may not be conducive to your life. I think if you run away too quickly, you're going to have that "Oh God, did I try everything?" feeling. Try everything. Make it work. Do everything you can. If it's not working, then know when the signal is and move on. Change. Try something different.
Well, here's my feeling about shtick. I think sometimes if you don't have it going on too much, you're probably feeling insecure and then you want to add on the shtick. I would say, oh, like Kiss. You try to stand out from the crowd, you're going for a bold statement, you're going for a high concept.
You can't climb up to the second floor without a ladder. When you set your aim too high and don't fulfill it, then your enthusiasm turns to bitterness. Try for a goal that's reasonable, and then gradually raise it.
America is said to have the highest per capita boredom of any spot on earth! We know that because we have the greatest number of artificial amusements of any country. People have become so empty that they can't even entertain themselves. They have to pay other people to amuse them, to make then laugh, to try to make them feel warm and happy and comfortable for a few minutes, to try to lose that awful, frightening, hollow feeling-that terrible, dreaded feeling of being lost and alone.
You work for it. You don't have to massage it, so that it fits into the way it has to be. He's just too vigorous a writer and the dialogue is too sparking to do anything other than inhabit it and give it as much truth as you can. You just try to make it part of your DNA. That's what the challenge is, really.
As an actor you bring some of your own experiences which can make things easier. You build off of it, but your imagination is always the best thing you have as far as creating things I think specifically for what that character is going through. But you're definitely drawing obviously upon things that you can connect to, and then you kind of mold the change that you're making into something that's right for the character.
The whole body-mind thing comes into play, when you are feeling that self-doubt and your body is not going to help you if you're not paying attention. Your body's going to go with the self-doubt and make you feel worse, so by making the adjustments - pulling your shoulders back, standing up straight, walking in a more sort of expansive way - all sorts of little things will help pull you out of that self-doubt.
We must be moving, working, making dreams to run toward; the poverty of life without dreams is too horrible to imagine.
The way I write is very much without kind of a goal. I have something I'm interested in and then I decide I'm going to explore it. I don't know where the characters are going to go, I don't know what the movie is going to do or what the screenplay is going to do. For me, that's the way to keep it alive.
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