A Quote by C. S. Lewis
Anthropomorphic animals, when taken out of narrative into actual visibility, always turn into buffoonery or nightmare.
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I had the nightmare when I was like nine or ten or something, I always remembered pieces of that nightmare, the feeling from it. I've always wanted to make a horror film and so I always kept thinking about that nightmare.
Someone once pointed out that there are quite a lot of animals in my books, and I'm sure that is something to do with 'The Wind in the Willows.' I must have picked up a rather anthropomorphic view of them.
There's a long history of anthropomorphic animals in Japanese literature. The so-called 'funny animal scrolls' were the first narratives in Japanese history, and the heroes of many folk tales have animals as their companions.
Visibility is not, in itself, always a good thing, but when it is in the hands of those who need positive visibility, it can be.
I always turn to Frank O'Hara and David Berman's 'Actual Air,' which came out in 1999. He's a poet I haven't tired of.
I've worked on high visibility shows that weren't always the best, and low visibility shows that I love but that didn't have the PR behind them.
The phantasmagoria, the actual experience that we try to understand and organize through narrative, varies from place to place. No single narrative serves the needs of everyone everywhere.
I kind of, I have quite a clear idea of what I'm trying to do with a record. A Super Furry Animals record is always an adventure, because there's five members of the group and everyone is a producer, we all throw in ideas, and regardless of who writes the song, the songs always get pushed around and shape-shifted to fit everyone in the band. So when I start a record with Super Furry Animals I can never predict how it'll turn out.
I know when it comes to the actual narrative of my solo music, it's its own thing. That's why I went out of my way after 'Crew' to not do a bunch of collaborations.
Maybe, generations ago, young people rebelled out of some clear motive, but now, we know we're rebelling. Between teen movies and sex-ed textbooks we're so ready for our rebellious phase we can't help but feel it's safe, contained. It will turn out all right, despite the risk, snug in the shell of rebellion narrative. Rebellion narrative, does that make sense? It was appropriate to do, so we did it.
Peeping through my keyhold I see within the range of only about 30 percent of the light that comes from the sun; the rest is infrared and some little ultraviolet, perfectly apparent to many animals, but invisible to me. A nightmare network of ganglia, charged and firing without my knowledge, cuts and splices what I see, editing it for my brain. Donald E. Carr points out that the sense impressions of one-celled animals are not edited for the brian: 'This is philosophically interesting in a rather mournful way, since it means that only the simplest animals perceive the universe as it is.
People make changes in their life, and they blend and assimilate. They find a way to make it work. That's where I've always taken the wrong turn. By not taking a turn at all.
Only a straight white person would have no concept of what visibility is. They've never contended with anything but visibility.
Automate the headlights so drivers can't forget to turn them on in low visibility.
As a child, I read a great many books in which animals and birds played significant roles, not only in the narrative itself, but also in creating the emotional and psychological atmosphere of that narrative - the imaginative furniture, as it were, in which any story unfolds.
I guess the wildcard here is Terrence Malick. He supervised me while I was writing the script for Beautiful Country, and he is a genius, although not always easy to follow. What I learned from him is that the narrative can be tracked through all kinds of scenes, that the strong narrative thread is not always the one that is most obvious. Creating narrative with Malick was a bit like chasing a butterfly through a jungle. This approach to narrative is fun and complicated, something that makes the process of writing constantly interesting to this writer.
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