A Quote by Busy Philipps

Sometimes that happens when people don't really know how long they're going to have to stretch their story out for. — © Busy Philipps
Sometimes that happens when people don't really know how long they're going to have to stretch their story out for.
That's what I love about documentary filmmaking, we never know where the story is going, we don't know what is going to happen next, and we're inside a culture of people that you have to figure out in many ways. It's a relationship between what you thought might have been the story, and what happens in the 'field.'
I really try to avoid, you know, rolling out the history. The people are so important to me, and what happens to them, how they react, how things happen to them, this is what is important. I feel that if I can tell THAT story well, then people will go and Google the rest and fill in what they need to know.
None of our films look alike, we are very dialectical in our approach to each one, and 'Hoop Dreams' was no exception. That's what I love about documentary filmmaking, we never know where the story is going, we don't know what is going to happen next, and we're inside a culture of people that you have to figure out in many ways. It's a relationship between what you thought might have been the story, and what happens in the 'field.' Out of that comes the story, which was exactly what happened with 'Hoop Dreams.'
I don't really know how writing process happens, how these songs are arrived at. One of the things I like about the writing process is, I don't necessarily know where it's going, and even if I think I know where it's going, it'll turn out different. I find that exciting and rewarding.
Sometimes it's great when, you know, you're sitting down to watch a straightforward story, and you know how it's going to go, and you know how it's going to end. That's a fairy tale.
Some people ask why we don't just wait until we have the whole story before posting. The fact is that we sometimes can't get to the end story without going through this process... When a story is up and posted, it's amazing how many people come out of the woodwork to give us additional information... And readers love it.
How can we trace out the links between actions that people take today and really long-term outcomes for humanity - outcomes that stretch out indefinitely into the future? I call this effort macrostrategy - that is, to think about the really big strategic situation for having a positive impact on the long-term future. There's the butterfly effect: A small change in an initial condition could have arbitrarily large consequences.
I have a very simple point of view, which is, I'm going to be alive for some amount of time; I don't know how long that's going to be. Then I'm going to be dead for a really, really long time. Right? You need to squeeze everything you can out of this time when you're alive.
A film has a beginning, middle, and an end. There is a certain amount of time that you have to embody these people. You know the entire story arch. But on TV, you have to let your guard down. You don't know how long the show is going to last. There is this excitement that comes with developing a character long-term.
Most of the time it's the role. Sometimes it's the story and sometimes it just the paycheck. It's the little movies that come out as stories or the fact that I have work to go out, you know what I'm saying, you can only be out so long without work, you start getting antsy.
Usually, you get a script and you have the whole story. All the acts are there, for a play. You know what happens in the first, second and third acts, and you know how it starts, where you go and where it finishes. [With American Horror Story: Asylum], it's a whole new experience. I don't know where it's going, and I don't know what's going to happen next. It's been an interesting way to work. It's made me work in a much more fluid, braver way, just taking every chance that comes along.
Really there's different scales of stories. Sometimes you want to tell one that 20, 30, 40, 50 million people will want to see and hear. Sometimes you do one that you know 150 will want to see on one night. As long as you're telling the right story for the right audience and they're getting something out of it it's essentially the same feeling to me.
You never know how things will turn out. And you can't really say it turned out wrong. Whatever happens, happens. The important thing is that you followed your gut.
When you're doing comedy constantly, you're organized: you know where everything is, you know how to get out of it, you know how to stretch it. But, like, doing 'SNL,' I stopped doing spots, and then I would finally do some sets - it take me so long to, kind of, get in the rhythm of it.
I know how to tell a story to a thousand people. Sometimes I don't know how to tell a story to a piece of tape on a wall and a camera.
Sometimes you feel like it's cursed when something takes so long to come out and you don't know if it's going to really come out.
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