A Quote by Donald Ray Pollock
I sort of like writing about weird characters, I guess.
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I approach writing female characters the same why I approach writing male characters. I never think I'm writing about women, I think I'm writing about one woman, one person. And I try to imagine what she is like, and endow her with a lot of my own thoughts and history.
Weird stuff, for me, is not that weird. I guess if it were other people, they'd think it was weird. I eat nutritional yeast. And sometimes I take clay shots to help pull toxins out of my body. I eat weird L.A. food, so I guess that's probably weird in other people's eyes.
The thing about writing or making art is that I'm not thinking about that stuff while I'm doing it. Like the driver's ed kid, in retrospect I see that that was meaningful, and I felt close to him in that way, but at the time I just thought it was fun to draw, and that's all it was. I think that's what's weird about life and about making art. You have to talk about it later. I guess I should be prepared to talk about it now. That is why I'm here. But again, pass.
I've always sort of felt like what the Shins is, I guess, is a vehicle for my writing.
I have friends who are capable of writing a very rough draft and then going back and embroidering - they're sort of the cathedral builders of fiction. I never really know what I'm doing, and all my pleasure's on the level of the line. It's a weird way to move forward. It's kind of like a way to caterpillar your way through these great woods. The best ones, whatever I feel like I'm writing about, some other secret thing will begin to come into focus.
I was thinking about what would it be, what would the characters be like, and it just suddenly dawned on me that, hey, nobody is doing an underseas show. So I started drawing these weird invertebrate animals, various characters like crawfish and starfish and squids and sponge.
I've never had a mentor personally of any kind. It feels like, generally, in the writing world or the art world, it's more of a thing in America, because you have writing programs, which we don't have. You have these amazing writers who are teachers. I never did a writing program so I never met a writer until I was published. I guess I can't really explain my compulsion for writing these kind of mentor characters.
It's just weird because like when I was writing Cry Baby I like...the only thing that I was thinking about, when writing it, was the concepts and the visuals, and the way that it sounded kind of happened naturally.
I guess we all have some sort of Rubicon that we haven't crossed in our lives and we've thought about for who knows how long. And for me, it's writing.
I guess I have a weird habit of writing body part metaphors.
The reader has information about the characters that the characters themselves don't have. We all have our secret sides. Even I come to understand things about the characters only through the writing process, as I am going along.
Playing weird and quirky characters, like those with weird nuances, I find very interesting.
I think it's very hard to talk about these characters in a closed-ended, sort of non-sequel way, especially characters like The Flash and Green Lantern, which have such rich, long histories.
I'm an actor. I have to play weird characters, quirky characters, strange characters, sometimes characters I don't understand.
I've done movies that have mostly feminine characters and elements, and I think that both 'Heathers' and 'Truth About Cats and Dogs' are, in their own weird ways - they're different ends of the girl movie spectrum, but they're very much centered around the female characters, and I like those movies, and I like working with good actresses.
I never imagined people like Thanos and Warlock would be drawn into films. They're weird characters in weird stories. Luckily, the twisted kids who read those weird stories are now the twisted adults who are making movies.
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