A Quote by Don Winslow
It's important to me that the reader goes on a ride with the characters, that you set context enough to know, "Okay, here's where we are in the world. Now we're just going to go inside this person's head, this guy's heart, this woman's ambitions and take it down to very, very small scale."
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The world is like a ride in an amusement park. And when you choose to go on it you think it's real because that's how powerful our minds are. And the ride goes up and down and round and round. It has thrills and chills and it's very brightly coloured and it's very loud and it's fun, for a while. Some people have been on the ride for a long time and they begin to question: "Is this real, or is this just a ride?" And other people have remembered, and they come back to us, they say, "Hey, don't worry, don't be afraid, ever, because this is just a ride." And we kill those people.
Scale is very, very important, like the scale of a person is very important. It's to do with the size of our space, the fact they are big sculptures, they are still human scale.
We're on a road to nowhere, come on inside. Takin' that ride to nowhere, we'll take that ride. I'm feelin' okay this mornin', and you know, we're on the road to paradise, here we go, here we go.
You know, when I was nineteen, Grandpa took me on a roller coaster. Up, down, up, down. Oh, what a ride! I always wanted to go again. You know, it was just so interesting to me that a ride could make me so frightened, so scared, so sick, so excited, and so thrilled all together! Some didn't like it. They went on the merry-go-round. That just goes around. Nothing. I like the roller coaster. You get more out of it.
I always say that when I see that needle start to go in the other direction, when people have had enough of me, I'm going to be smart enough to say goodbye. It's such a joyous ride to be on top, and it takes away from that ride if you sort of ride it down.
I had a very old woman come up to me on the subway and tell me that the faces that I made in the first episode when a guy is going down on me, that she still makes those faces when her husband goes down on her.
I think at some level, it's just alchemy that we, as writers, can't explain when we write the characters. I don't set out to create the characters - they're not, to me, collections of quirks that I can put together. I discover the characters, instead. I usually go through a standard set of interview questions with the character in the beginning and ask the vital stuff: What's important to you? What do you love? Hate? Fear? .. and then I know where to start. But the characters just grow on their own, at a certain point. And start surprising me.
I love musicals but it's very, very different. It's really just a different form than serious drama, and has very different rules and a completely different set of characters and requirements and ambitions. It maybe shouldn't be as separate as it is, but it's got a different history. In terms of serious drama, I think you'd have to say that you could break it down essentially into the narrative realist tradition and experimental theater.
Very often with an American movie, the end is very happy and you just feel good when you go out. When you go to a French movie, it's kind of like, oh!, and you can't go out; you're stuck in your chair. It goes so deeply inside of the heart.
Very often with an American movie, the end is very happy and you just feel good when you go out. When you go to a French movie, it's kind of like, "oh!", and you can't go out; you're stuck in your chair. It goes so deeply inside of the heart.
There's very few directors that know what that rehearsal's for. And often it's just about calming down the director. If he could see it or she sees it, she goes oh, it's going to be okay.
It's a fact, the majority of films in Hollywood are from the male perspective. And the female characters, very rarely do they get to speak to another female character in a movie, and when they do it's usually about a guy, not anything else. So they're very male-centric, Hollywood films, in general. So I think it's incredible that Ned Benson, when I said I'd love to know where she goes, says okay, I'm going to write another film from the female perspective.
I don't think most people know how to meditate - they fall asleep and they call it meditation. I prefer a kind of sweet, deep, rich prayer in which a person goes in and says, Take me down deep into the reason you gave me life. Take me down deep. It silences the chaos in me. Take me away from my sense. I need to go away now, because I'm in chaos - take me down deep. Hover over me, because I need grace. I say that a lot, many times a day. So that's my practice.
I always considered myself bi-racial, because I didn't want to disconnect from either side, and I felt very strongly about that. Now, I understand that the world sees me as a black woman, a person of color, and I'm okay with that.
It's so easy to practice out of context. For example, if you're learning a scale, you take that scale and you sit in your room and you go up and down the fretboard, over and over. You've gotta do that, because you need to get that scale working. But you have to keep in mind that that's not the finished product. That's the starting point.
I just know you can not be on top forever. There's always going to be the next guy, and if I'm going to go down, I'd like to know I helped the next guy take my spot. You can't prevent the inevitable, but you can join the ship.
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