A Quote by Chuck Palahniuk
I tell everyone I interact with what I'm working on and let them bring me anecdotes that illustrate my themes.
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My critique of how we deal with drugs in society is just that - that we use these anecdotes to apply to everyone and the anecdotes are not representative.
If somebody asks me about the themes of something I'm working on, I never have any idea what the themes are. . . . Somebody tells me the themes later. I sort of try to avoid developing themes. I want to just keep it a little bit more abstract. But then, what ends up happening is, they say, 'Well, I see a lot here that you did before, and it's connected to this other movie you did,' and . . . that almost seems like something I don't quite choose. It chooses me.
We learnt a lot because we got in with real choreographers who tell you what they need from a song, because a song has to advance the story. Then real directors like Mike Nichols tell you where you can have 'B themes' and 'C themes', and we go oh yes, B themes and C themes! So we were taught in the finest school amongst the finest people. And also by the school of experience.
So if you care to find me/ Look to the western sky/ As someone told me lately/ Everyone deserves the chance to fly!/ And if I'm flying solo/ At least I'm flying free/ Tell those who'd ground me/ Take a message back from me/ Tell them how I am defying gravity!/ I'm flying high defying gravity/ And soon I'll match them in renown./ And nobody in all of Oz/ No Wizard that there is or was/ Is ever gonna bring me down!/
I always collect images, maybe because I was working with historic material - but even if I were working with contemporary material, I would do the same thing. I keep a kind of index of them while I'm working. I find them incredibly useful, not so much to illustrate a time, but to give some sense of the feeling of a time.
Anecdotes don't make good stories. Generally I dig down underneath them so far that the story that finally comes out is not what people thought their anecdotes were about.
You tell them what a happy ending consists of, which is always individual success. You tell them that nothing irrational exists in this world, which is a lie. You tell them that conflict only exists only to be neatly resolved, and that everyone who is poor wants to be rich, and everyone who is ill wants to get better, and everyone who gets involved in crime comes to a bad end, and that love should be pure. You tell them that despite all this they are special, that the world revolves around them.
I get verbal diarrhea in the writers' room. I just tell everyone a million anecdotes and stories and craziness, and we all double up on the floor laughing.
Everyone's got something that they've held onto from their childhood or from a past relationship, someone who's told you what you are, and it's leaving all that behind and living a happy life and realizing that a lot of that is inside you - really uncovering that. The story - those themes - are heavy themes that everyone can connect to.
I don't know how to tell a joke. I never tell jokes. I can tell stories that happened to me... anecdotes. But never a joke.
I find I can't get rid of my trashiness as an artist. A lot of my themes in painting, to the extent that there are intentional themes, are meant to bring that conundrum into high relief.
The whole idea of a festival to me is that filmmakers get to interact. You see someone strolling, you get to meet them and tell them you like their work, you admire their story.
And I began to tell little anecdotes that had happened to me, and people would laugh. And I began to like that, you know. But I knew that, 'cause I'd do that in school, but I wouldn't do it out there in front of all them people.
There are so many clichés in the world, especially in music, that it's a never-ending creative font to just bring two of them together and let them interact.
I carry themes in my mind for years before I will try to compose them. I've got themes that will last me now 'til I die.
I keep saying we've got 92 million Americans on the beach. They're not working, and they're all eating, and they're all making phone calls, and they're all watching television. But they're not working. You mean to tell me if you tell them that to keep all that they're going to have to get a job, that that is a detriment to your campaign?
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