A Quote by Dylan O'Brien
It makes it easier to adapt a book that is popular with kids because of how excited they are about the project; you don't get the criticisms you would get with other projects.
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I have a rule, and that is that I don't take on any project that I don't A) already know and love or B) believe I could get to know and love. Some of the most fun projects have come from franchises I knew nothing about initially. I would steep myself in the material, get all excited and geeky about it, then be able to produce something that hopefully both the creators and the fans would enjoy.
I try to just be open to what the next experience is and how it makes me feel, just reading a project, or trying to get involved with a project, or thinking about a project, and what particular emotional flavor that brings. To me, it's never really about planning the next thing, or the career arc. It's about investigating how I feel, from project to project, and finding things that I haven't explored and what that would be like.
I get letters from two kinds of readers. History buffs, who love to read history and biography for fun, and then kids who want to be writers but who rarely come out and say so in their letters. You can tell by the questions they ask - How did you get your ?rst book published? How long do you spend on a book? So I guess those are the readers that I'm writing for - kids who enjoy that kind of book, because they're interested in history, in other people's lives, in what has happened in the world. I believe that they're the ones who are going to be the movers and shakers.
Do they think I'm on drugs? That I have a life-threatening illness? That I'm anorexic? Emotionally, it doesn't get easier to hear those criticisms - but it gets easier to be resolute about my reaction to it.
It takes me about three years to write a book. They're very complex, and they take a lot of research, but also because the more popular your books get, the more popular you get, and people want to haul you off and look at you.
I immediately went out and bought a book on anger management. And now I have that book, and I don't know if I'll get to the book. But I'm certainly excited about the day where I can't find the book, and I get to say, 'Where the hell is my anger management book?!'
It's all about trying to find those projects where you get to enjoy yourself, because I think that's when you create as well: when you're genuinely excited about something. Then you're not just doing it because it's your job.
We get all excited about collaborations. You get excited to hear that Rihanna has something, because Rihanna is a singer, and she has amazing fashion. You want to see what she would create. I don't get upset and think, 'Someone else is going to do better than me.' You're like, 'Oh, good for her.'
Schools and parents can team up to find books that kids will really get excited about - that will make them say, 'That was a great experience. Now I know why people get excited about reading.'
I get really excited about other female acts. I feel inspired when I see another women succeeding in music because it makes me realize that if they can do it, I can do it.
Don't let the company get distracted or excited about other things. A common mistake is that companies get excited by their own PR.
We need to write books that publicists and marketers and booksellers and book club leaders and librarians and readers can get excited about. That have something about them that makes them stand out. That makes them shine.
So many Hollywood adaptations of really popular manga series just don't get it right, and for me what was really important was that if I was gonna do 'Naruto,' I wanted to actually work with Kishimoto and get a script to a stage where he would look at it and be excited about realizing it.
I think every coach has to adapt to what they have, because they're what you get. You can't just go out to the player tree and pick all the great ones. That doesn't happen. You get a Barry Sanders every now and then. You get a Billy Sims every once in a while. And when you have it, you adapt to their strengths. Whoever comes in here and whoever has this job needs to adapt and will do that.
TV becomes easier because you get to spend time with that character. It's going to go on for a while, and the more you know something, the easier it becomes, the less nerves you have about it, and the better it is for improv because you have that camaraderie between cast regulars. In film, it's harder because you got to get in and get out.
Kids are probably frustrated and egos are too much involved and kids don't know how to get together and be kids and start a group and it's kind of sad because I feel like if you come out with three or four people in the beginning, you can be protected and everybody can shield each other. Before you get out there by yourself and get all these people coming at you. I just think it's not really there.
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