A Quote by Dee Rees
I thought I'd get an MBA, and then I could be anything. And I'd write on the side. That was the idea.
Related Quotes
I've always thought that the balance between the side of my mind that knows what it is doing and the side that really hasn't got a clue has to be carefully maintained because if you write too knowingly then you get chilly, and if you write too unknowingly you write bollocks that nobody else can understand.
I did an MBA because when I left Skype, I didn't have a clear idea of whether I wanted to create or join a company. But you don't need an MBA to become an entrepreneur.
When you get an idea, so many things come in that one moment. You could write the sound of that idea, or the sound of the room it's in. You could write the clothes the character is wearing, what they're saying, how they move, what they look like. Instead of making up, you're actually catching an idea, for a story, characters, place, and mood - all the stuff that comes.
I don't get writer's block. I don't try to write anything; when something comes, I write it. I just practice and when I get an idea I write it down.
I thought I could never write a proper book; I'd never done it before. But I thought I could write a sequence. Then I had a chapter. The next thing I knew I was turning acting down.
I love filmmaking because it's like harvesting as a farmer. I have an idea, I get the financing, I write the script and then cast and shoot and edit. Then there is opening night, and after that I get another idea.
I talked my parents into sending me to Roedean at 16. I had this idea that if I could get into Cambridge, then I could join Footlights. My problem was that I went to a comprehensive in Brighton. I thought I'd have to start from a good school, and the best I could think of was Roedean.
I thought Cheever was magnificent and that if I could write like him that would be the best I could do. And then I realized that what I really wanted to write had nothing to do with what he was doing.
An MBA is a great degree for career paths like investment banking, finance, consulting, and large companies. An MBA is not necessarily the right path for starting a tech company. You should be building a prototype, not getting an MBA in that case.
When you get an idea, so many things come in that one moment. You could write the sound of that idea, or the sound of the room it's in. You could write the clothes the character is wearing, what they're saying, how they move, what they look like. Instead of making up, you're actually catching an idea, for a story, characters, place, and mood - all the stuff that comes. When you put a sound to something and it's wrong, it's so obvious. When it's right, the whole is greater than the sum of the parts. That's a magical thing that can happen in cinema.
The original idea before Mint was a life and goal planning system I called Carpe Viva. The idea was that all of life's goals, from buying a house, getting an MBA, or learning Spanish could be quantified in both time and money.
I had a lot of great lakes of ignorance that I was up against, I would write what I knew in almost like islands that were rising up out of the oceans. Then I would take time off and read, sometimes for months, then I would write more of what I knew, and saw what I could see, as much as the story as I could see. And then at a certain point I had to write out what I thought was the plot because it was so hard to keep it all together in my head. And then I started to write in a more linear way.
As a child, I wanted to be an astronaut, then a fighter pilot, and then later, as I grew up, I was focused on scoring high marks so that I could do an MBA in marketing.
The creation of a film starts with an idea, a notion of a time period or characters, and you get really excited about the idea, and sell it to others if you need their support to write the script. You can't wait to get started, and then you try to start, and you struggle with the blank page, and you get some ideas, and they're bad ideas, and you write bad stuff. It's really bad.
When After Forever stopped, I didn't want to first find a band, then see if I could write with them, figure that whole thing out, then record an album. Instead, I worked with people I knew would be good songwriters out of an idea how I thought it would sound like.
If I had a story idea that I felt would work best in three volumes I might write a trilogy eventually. I'd very likely write it all at once, though, so I could work on it as a whole and not broken into individual volumes. I don't always write in order, so composing multi-book stories could get complicated.
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