A Quote by Charles de Lint
As the new work fills my notebooks, I've come to realize that the characters in my stories were so real because I really did want to get close to people, I really did want to know them. It was just easier to do it on paper, one step removed.
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I learned that as a director, you're around all these talented people, so you have this window that all these really good ideas can come in to help your movie, so you're crazy to close them. You need to be inspiring people, engaging people. There are lots of people who are really good at their jobs but might not know or feel like they want to come up to people and get them to participate and want to do their best.
I think you have to be crazy not to want to work on the Joker! I can't think of many characters, heroes or villains, that are as malleable as him. He really can be interpreted in so many different ways, and generally, people don't really want to scratch the surface because you can get into some really dark territory real fast.
If you go back to the '80s, I didn't really know much about the characters. I knew what they did in the ring. I knew Hogan went off and spouted lots of crazy promos, and Ultimate Warrior did the same. They really were just characters.
I really love to act. I really love to touch the people with my work. It's about giving people what they want to see. I love to see someone who's gonna be real, be truthful to his work and that's what I try to bring every time I step on a set. That's what I did for Tupac movie.
I always try to get in the back of the audience because people really want to get close to me, and I want to get close to them.
I don't want to name names because they'd be mad at me if I did, but people who are significant novelists can't get published by real publishers at this point, or have to go through two years of trying after writing a novel that's taken them five or six years and simply can't get the thing in print. Or it gets in print and it doesn't get reviewed in the New York Times Book Review and disappears without a trace. I mean, it's terrifying. I don't know how anybody can stand it. It's such an enormous amount of work and the economics of it are really quite brutal.
It used to be, if you were a reporter, you wrote a story and then you moved on to the next one. We were used to people coming to the New York Times. We waited for them to turn on our website or to pick up our print paper and see what we have. We now understand that we have to make our stories available to our readers. A lot of people get their news from Facebook or Twitter and we want to make sure that they see some of our best stories there, too. We do this more aggressively now than we did before.
We were always told we were one step behind Deep Purple, one step behind Led Zeppelin, one step behind everybody. Our manager didn't want to let us know how popular we were. It's only after we did Ozzfest that people started telling me stuff. I thought they were taking the piss. People would come up to me and go, "Respect."
You only get so much time to do something that you enjoy or love to do. If you can continue doing it, you might as well, because I don't want to live in regret. I don't want to be the person sitting behind a desk, wondering, 'Did I do it right, did I finish it off, did I really give it my all?'
Where you go to these really good schools, and it's all about preparing for the next step of success. That was never even on my radar. My job is to explore the world, because this is my one life, you know? That's totally how I see it. But I came to Yale just being like, Yeah, now I get to explore this place and meet all these people who are really smart. And I was just excited to be surrounded by people who were as smart as me or were probably smarter. And I just did not expect the level of competition and bitterness and anger, and, the tearing each other down.
Most development doesn't make it to series. So you want the writer and director to have a really good experience with development because, if it doesn't work out, you want to work with them again. You have to know their work really well, know the drafts really well, and when you give notes, you need to have really thought them through.
I always want to work on things that really scare me and interest me at the same time, and you know, I definitely had some projects in the past that did that, but the stars never aligned in getting them up. So 'Lion' was another project that really interested me, and the stars did align on this one. It just happened to be my first film!
Relationships help you learn more about what you want. If one doesn't work out, you just kind of look at it and go, Okay, well, this is what I did like and this is what I didn't like, and this is what I did wrong, and maybe I need to be more like this. And so you learn things, and that's why you grow. And you bring all the stuff that you've changed about yourself to a new relationship until you finally find that person you really, really want.
I've been really, lucky and sometimes you think, 'Why? How did this happen to me - what did I do to deserve this?' And you realize how much it's just luck. And then you see that there's a lot of people who are not as lucky as you are, and I want to like share that luck, you know?
You don't want to say somebody did a great job of acting. You want to say, "Where did he find that person? How did he get that factory worker to come out of the factory and be on camera?" You want to believe that person is real.
I did not want people to know that I was a Muslim; I did not want people to know my name or that I did not have an American name. I did not want that. Because I knew if they knew that, they would cast me as the bad guy.
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