A Quote by Esme Creed-Miles
Obviously, for safety reasons, there's some stuff I can't do, but fighting is more than just about nailing the moves accurately, to sort of pull off the stunt sequence. It's also about bringing emotion to it and character.
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If you break down actual techniques and knowledge of MMA, I am more knowledgeable than the head coaches of all the guys I'm fighting. Forget the guys I'm fighting. Obviously I know more than they do, nobody is going to question that. But I also know more than the guys who are teaching them about fighting. I could teach them.
Fight sequence to me isn't just about the athleticism. It so often is about what the emotion that is behind it and how willing you are to really, really challenge that emotion or really take that emotion to that place so you're feeling a certain intensity for the whole time when you're shooting the actual physical scenes.
The funny thing is that the process of coming up with an idea for a column or a 'Candid Camera' sequence is essentially the same thing. I just live my life with eyes and ears perhaps a little bit wider open than some people. Whatever bothers me or seems off kilter or in need of parody-or on a serious subject, in need of examination-in the past I had done a sequence about it. Now I write a column about it.
Everything's always got to be character-based. We know we can't, if we're sitting in the editing room, watch the sequence for more than 20 seconds without a character having a point of view or moving the action forward; my brain just shuts down, or I start thinking about my laundry.
We have a very physical performance art. A lot of times, when you want to achieve a certain emotion, you have to use professional wrestling ingredients, which are moves or a sequence of moves.
I suppose you do think about the time that's allotted to you more than when you were younger. The mortality thing obviously has a stronger pull for you. It's an imminent truth; it's not necessarily a bad thing. You realize - much earlier than my age now - that you won't be able to play for England's football team, just to take a really crass example. So you can't have that life again. Unless you believe in reincarnation or whatever. Reincarnation? That's a whole other question. I find people who talk about that sort of thing in interviews idiotic. And I don't want to go down with them.
When you're directing you're kind of interested in the movie and the story and the characters. I just sort of prefer the really tough fighting and some of the other street fighting type moves. You know, where it's not just show. It's not dressing it up for the cameras too much. It's pretty down and dirty, the way it should be. That's something I like to do. I do that.
Any character that you come up with or create is a piece of you. You're putting yourself into that character, but there's the guise of the character. So there's a certain amount of safety in the character, where you feel more safe being the character than you do being just you
If you can find a way your character moves, you know more about your character than you'd ever dream.
There's one thing that people will never know about Tim Duncan: Tim Duncan might know more UFC moves and more fighting moves than anybody in the UFC.
I started doing comedy just as myself, because I thought, "This is what's expected, you're meant to tell stories and do observations." And then I started to realize that I wanted to mix it up a bit, so I started to doing songs, and I had a little keyboard onstage and would bring in little props. Then I thought about the idea of talking about a character and becoming the character onstage. So, it sort of morphed into being stand-up that was more character based, and I found that's the stuff I got the better reaction from and was more exciting for me.
I also have just my own limits about stuff. I'm not interested in writing graphically about sexual assault for example. I feel like the stuff that I'm fascinated by is the stuff that's part of the public imagination of what horror is. The bleakness is a different issue. I think that just stems from my personality. I wish that I offered a little more glimmer of hope sometimes.
I think I think in the moment. So when I'm in character, I'm in character, and I'm obviously thinking about what's going on around me, but it's easier to do stuff when you're in character.
The great thing about fairy tales and myths is that they go beyond character. They're not about character. They're about more basic things. They're about basic fears or longings or desires or fantasies, and stuff like that.
The romantic element is what the story Essential Maps for the Lost, sort of sits on, but all the stuff below the surface is really about family. It's about the baggage we bring, both the good and the hard stuff in that baggage. It's more about the other relationships. It's about mothers and fathers and sisters and dogs, all of the pieces. It's really more about - yes, love, in its widest usage.
I think that every decision I make in my life is based off of an emotion - and it definitely hurts me in some situations, and helps in some situations, like obviously writing and stuff is my favourite thing to do because I get to use all of my emotions and express them in that way.
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