A Quote by Ed Brubaker
There's a reason why every successful person in Hollywood has like seven or eight projects up in the air at any point. It's like a 90 percent chance for each project that it'll never happen. Every project has about a 10 percent chance of getting made, unless you're like a Quentin Tarantino or somebody who just gets whatever they want to get done. But those are the rare cases.
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The good part of what comics trains you to do is it trains you - especially if you've worked in mainstream comics like Marvel and DC, or if you're just doing your own independent comics - to compartmentalize things and work on multiple things at the same time. And that's a skill that is incredibly handy in Hollywood, because within the first year that you get here, you realize there's a reason why every successful person in Hollywood has like seven or eight projects up in the air at any point.
Anything is possible. You can be told that you have a 90-percent chance or a 50-percent chance or a 1-percent chance, but you have to believe, and you have to fight.
A lot of people don't want to know, but I'd like to know if I have a 10 percent or a 90 percent chance of developing Alzheimer's some day. If I know I'm likely to develop it, I'm certainly going to start looking around right now to find if there is something that I can do to offset it.
I'm particular about the projects that I've chosen. Each one of them, I've taken a step up, like climbing a ladder. Before, it was baby-steps, up to 'Riddick.' Then I took this huge leap onto 'Guardians!' It was such a higher level, this huge project which originally I never thought I'd have a chance in hell of getting.
If you have a patient in a doctor's office who's just been told they have terminal cancer but there's this operation they could perform right now that might save their lives. ... They have a 90 percent chance of surviving the operation — if you tell them that, they respond one way. If you tell them ... that they have a 10 percent chance of being killed by the operation, they are about three times less likely to have the operation.
The older I get, the less I negotiate. When you first start out, it's 90 percent negotiation and 10 percent suggestion. When you get to a certain point, those figures reverse.
And ultimately, it's good for all of us to have more original programming on the air. Business doesn't drive the creative. So, in identifying a project like Dovekeepers, looking at something like Extant and looking at Under the Dome, it was about falling in love with a piece of material, getting excited by the creative direction, hearing a vision, and getting excited about the potential for those projects and building the business model around it. And they're not all modeled the same way. Every one is different.
Every project might only sell like 30 to 50,000, but I mean, I'm getting seven, eight dollars every CD. I make more money per record than an artist on a major label - I can definitely say that.
It's only in the finer points that it gets complicated and contentious, the inability to realize that no matter what our religion or gender or race or geographic background, we all have about 98 percent in common with each other.... For whatever reason, we like to focus on the 2 percent that's different, and most of the conflict in the world comes from that.
You know, when you see yourself on a big screen, I tend to watch from behind my hands. There is absolutely the regret. You always get that at the end of every project. That's what's great about theater: at least every night you get the chance to go out and re-offend. I'm endlessly disappointed, which is what propels me into the next project, probably, not to repair the damage but to kind of hopefully keep developing. Otherwise there's no reason to keep doing it, is there?
I do my best to choose carefully. If I don’t feel that collaboration is going to happen, I say no. Think about it. These projects can involve a five-to-seven-year partnership. If you don’t feel comfortable with someone, you can’t get rid of them. I just walked away from a job for that reason. Every one of these projects is an emotional investment, like falling in love. You’ve got to believe in it and you’ve got to like the people you work with.
I feel like I'm being put inside a box, and I'm not necessarily getting a chance. Like I'm not getting the shot that I deserve. So that's what Rare is about 'cause I feel because I am the way that I am, and I don't necessarily fit the mold of a lot of different artists that's out, it's like I'm not getting the chance to show what I can do. So, that's basically all the frustration of that, and everything is pretty much Rare for me anyway.
Well with just this business, this whole acting thing, it's so competitive and there's like such a small chance of making it. I'm very lucky that I got to be on this big show, and I just think if you push past that 99 percent who give up at a point, you will have a chance at making it and going somewhere.
I like to mix it up, yeah. I don't sort of think, 'Oh, I need to do a comedy, I've done three dramas this year.' I don't think of it like that, but I definitely from project to project I feel like I want to just do something different all of the time and stop, I don't want to bore myself or anyone else.
You can't write a song out of thin air. You have to feel and know what you are writing about. ... Talent is only a starting point. You've got to keep working that talent. Someday I'll reach for it and it won't be there. ... Life is 10 percent what you make it, and 90 percent how you take it. ... The toughest thing about success is that you've got to keep on being a success. ... After you get what you want you don't want it. ... Listen kid, take my advice, never hate a song that has sold half a million copies. ... The song is ended, but as the songwriter wrote, the melody lingers on.
I like learning stuff. The more information you can get about a person or a subject, the more you can pour into a potential project. I made a decision to do different things. I want to do things that have a better chance of being thought of as original. I do everything I can to disrupt my comfort zone.
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