A Quote by Brian K. Vaughan
The longer I've been writing scripts, the more I find that you have to give the artist more leeway or else you'll just be disappointed. You can't force them to draw every image that's in your head. Since I'm a horrific artist, I wouldn't want them to anyway. So I definitely give them a lot more leeway now than I did at the beginning.
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You have a lot more leeway to be contradictory playing a character than most of the scripts have in them. That's how all actors are. We have so many different sides of ourselves and we're so different, in meeting with different people. The audiences relate more to that and find that more believable.
Luckily with animation, they give you a lot more leeway than a live-action show.
To get rid of villains and knaves, it is necessary to give them a way out. If you don't give them any leeway at all, they will be like trapped rats. If every way out is closed to them, they will chew up everything good.
I want to give the audience a hint of a scene. No more than that. Give them too much and they won't contribute anything themselves. Give them just a suggestion and you get them working with you. That's what gives the theater meaning: when it becomes a social act.
I think, when you are writing non-fiction, you feel there's an obligation to get it absolutely right, so all your factual details have to be, have, you know, to go through a long list of them and tick them. I'm not saying that's not important in fiction, but I think you have a bit more leeway; you can suit yourself.
The worst part is that if you become part of a major - all these independent labels become farm teams for your corporate parent. Basically, you do all the work for years, blowing up an artist - you discover them, blow them up, you build their fan base. And then that artist is like, "Okay, now I'm here. Now I want more. I want to be bigger." And you're either going to be able to accommodate them, you're going to be able to figure out how to take that step with them, or you're going to lose them.
Sometime I'm going to do an essay called 'The Virtues of Amateurism' for all of those people who wish they earned their living in the arts. The market kills more artistic people than anything else. It's a world of safety out there, for most people. They want safety, the magazines and manufacturers give them safety, give them homogeneity, give them the familiar and comfortable, don't challenge them.
If a band or artist isn't tweeting or writing posts on Facebook every day, there can be this kind of mystique built about them, and I find myself retreating from the spotlight more and more.
I can't write from the subconscious actually, because a lot of the time when I co-write with other people, I'm writing for them as opposed to for myself. When it comes to lyrics, I tend to want to give them their voice, since it's most likely going to be on their record, or somebody else's record. And I find for more commerial-style music, people want simplicity, less vagueness, and less space to fill between the lines, so to speak. So I can't be quite as ethereal and mystical.
The American public's a lot more sophisticated than we all give them credit for. And on complicated issues, I'm going to give them straight answers. And if it takes more than three minutes, I'm going to do it.
I think theatre is a democratic act and I think writing a play is not a democratic act. I think we should give writers more leeway and space to write the thing they want to write, and then we should produce the play, multiple times, and let them re-write it.
We're trained to believe we should cling to one person only. Yet there are so many people who pass in and out of our lives. Good people, worth people, interesting people. Most of them stay for a little while and then move on. Some of them find a place with us and, if we let them, they enrich us. Don't close yourself off from the rest of the world, Eve. If you find someone who can make you understand a little more, laugh every now and then, give you a new experience, then never feel guilty. You'll just have more to give back to those who are closest to you.
What we should do, if you want to give more money to the people who are currently unemployed, just give them the money. Give them a lump sum of cash. Don't make them stay unemployed for another three months in order to get the checks.
With a film, you just don't have time to build sympathy for the character. But I think we're moving away from that in TV. With TV, you have a little more leeway to allow them to rise and fall and rise again and be much more complicated beings.
You give power to issues if you pay a lot of attention to them. The more attention you give them the more power they have. So the most powerful thing you can do is just get on and ignore it.
The more internal freedom you achieve, the more you want: it is more fun to be happy than sad, more enjoyable to choose your own emotions than to have them inflicted on you by mechanical glandular processes, more pleasurable to solve your problems than to be stuck with them forever.
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