A Quote by Bonobo
I struggle with arrangements. I take forever doing them. It gets to a point where I've been playing around with things on loops for days. I always paint in broad strokes - very quickly, I'll feel out the larger structure - but it's putting the details in that I find the hardest part.
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There's something about approaching 50 that's very liberating. Political struggle has always been a 24-hour-a-day job for me. I felt I could never take time out for myself. Now I feel I owe it to myself to develop in ways I've been putting off all my life.
It was natural to see the struggle for dignity for black people in America as a sister struggle of the Jewish struggle. So growing up, it was always a part of my breakfast cereal to think of myself as someone who was part of a larger struggle.
When I pick a story, I'm very much aware of the larger issues that it's illuminating. But one of the things that I, as a writer, feel strongly about is that nobody is representative. That's just narrative nonsense. People may be part of a larger story or structure or institution, but they're still people. Making them representative loses sight of that. Which is why a lot of writing about low-income people makes them into saints, perfect in their suffering.
I'm good at the broad strokes but hopeless at the details.
Effective visions are lived in details, not broad strokes.
I've been doing this playing basketball forever. It's always going to be a part of me. I know that.
Every actor who's been around long enough knows that when something bad happens in this business, it's always for a reason. Really, the hardest part is waiting to find out what the reason is.
I have modes, mental modes that I get in, and when I'm on the road, I focus very much on doing the work. On playing the show, on being good every night. And part of me just gets switched off. The part that's very private and very personal and very intimate. That especially, that part of me gets shut off.
People know the broad strokes of what it's like to be Spider-Man, but I wanted to really get into the details.
I think the biggest lesson that I take from 'Avatar' on any set that I go to is just work ethic. Working with Jim Cameron, you're used to working very, very long days and you're very meticulous about details. He's very, very picky about little details, little character-isms and things.
In terms of the pilot, you have to introduce a lot of characters in a very short period of time, and you have to paint with slightly broad brush strokes because you just need to give an audience an idea of who these people might be.
I'm always writing something. There's always some structure sitting around someplace. There's always things on the computer, things scratched on score paper, legal tablets full of lyrics. It's never not buzzing around me all the time. I'm always doing it.
The hardest part is always the middle of anything because at that point, on some unconscious level, you have to figure out what it's about and why you're doing it and what it means. You don't know that in the beginning.
I did a lot of bad stuff from the age of 18 to 21. Those are days when everyone is usually in college doing a lot of stupid things. But since I was playing baseball, I was in the spotlight. I take full responsibility for doing things that I shouldn't have been doing. And I appreciate the second chance that the Twins are giving me.
Going to a party uninvited always has been a negative action. It never has been acceptable. At the very least, it upsets kitchen preparations, parking arrangements, and even details such as space for hanging coats and depositing dripping umbrellas.
We can all pick a goal and find a reason to do it. Then some of us can actually do all the little things over and over again. That's definitely a harder step. Doing it again? That's where it gets to be a beast, when you have to repeat. It's the hardest part of it all.
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