A Quote by Catherynne M. Valente
…everything has a narrative, really, and if you can’t understand a story and relate to it, figure out how you fit inside it, you’re not really alive at all.
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I was struggling to figure out how to combine the abstract and the representational. Painting, I suddenly understood how that aesthetic could fit together. That was a really fun game to figure out how that worked.
What I'm really proud of Beyonce and Solange, they understand the importance of creating the narrative. It's all about the narrative and how you position yourself with your narrative.
I'd thought I'd constructed a really wonderful book, and the teacher told me that my story basically began on page fifty, and that I should throw out everything prior, or figure out a way to weave only the most important information back into the story, and keep the action moving forward. Wow. That was a really humbling experience. A real eye-opener. Made me realize there are so many aspects involved with telling a story.
I feel like artists and their lyrics are something that people can relate to when it comes to love and break-ups. I really want people to know how I felt when I went through a break up, when I really felt alive, and everything in between.
History is basically really looking back and finding out what happened to an individual, a community, a family, a group in a certain event. And so that's why I go, "Wow. That's what acting really is. You find out the background, you get the joy of creating a fictional history of a fictional character and you get to tell a story." So I felt that acting is making history come alive and it became my mode of trying to figure out what this craft of acting is really all about.
If you can figure out where you fit into any particular story, you'll be okay. When you're not quite sure where you fit in, you try to be too many parts of the story. You gild the lily. I see it all the time.
I have a theory that, for people of color or others who have been cut out of the master narrative, just telling your personal survival tale, your story, is civic engagement. It is a kind of political performance and is really crucial in that storytelling is how the writers connect with people and change. It's how we collect and add to and complicate the master narrative.
I want the camerawork to fit the narrative and tell the story from the point of view of the character, but sometimes, to be interacting with the sensations of the story, you almost become like a ghost, you know? Like, someone that is floating, observing, not really judging what's going on.
I was really, really, really feminine and really into cheerleading and really into figure skating and really into gymnastics. Really into everything that other boys weren't.
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.
I really like narrative songs, but I wonder if that's a thing for some people. Once they've heard the story, do they really need to hear the story again?
Suddenly, I realized how tough trying to structure a story like this is. It was a lot of work. The one big advantage that we had was that we had eight scripts written before we started shooting, or even started casting. We had a really good opportunity to look at it and figure out where we were going to go and how to do it. Once we got a cast, which I love, then we started doing some revisions to make sure that they fit into it.
I just thought someone has to figure out how to break through that barrier and create a narrative for a black super hero story to unfold at the same scale as something like Star Wars. Rythm Mastr is about producing a narrative of a hero engaged in a struggle as complicated as those other stories. The catalyst for it was the beginning of the demolition of public housing in Chicago.
But sometimes you can't figure everything out because you can't ever really understand other people. You can't understand why they do what they do. You just have to accept a little mystery, Ben. People are mysterious, the world is mysterious. You can't know everything. You're not supposed to. This isn't a history book. It's just the world. It's a messy place.
I don't think there's a right or wrong things in your style. It's about how you clearly reflect who you are; how you more clearly tell the story. Who are you? How do you want to transmit that to the world, and how do you more clearly say that? Then I have a philosophy, FFPS: fit, fabric, proportion, and silhouette. Proportion's everything, really, knowing your body and understanding that. Those things have been really crucial for me. It's about being clear about the story you want to tell to the world about who you are - and maybe a little bit of FFPS.
The key is really just saying my brain isn't big enough to figure out why everything happens. It would be like an ant trying to understand the internet.
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