A Quote by Gail Collins
The economic sense of possibility was so great when I was growing up that my parents had no question that I could do anything I wanted to do, even as a girl. I've always believed that the economics of a story intersects with the women's story - that stuff often happens at the time it happens because of the economy.
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What happens is that as the scripts are rewritten and re-edited in order to make the story more compelling, you sometimes end up with what you could call a time singularity - where there's no way for everything that happens to happen in real time. It's something that you need to wink at.
You're looking, moment by moment and scene by scene, how you can tell the most interesting story. So, we had this great short and we knew that we had a story about a boy and his dog. Because we had that pure emotional core, we could go on crazy tangents and always come back to Victor and Sparky. When I wrote in stuff like Weird Girl and the cat poop, Dutch Day and the windmill, it felt like it was part of Tim's universe.
The incredible thing happens at the beginning of the story always, you notice, not the end. A Sherlock Holmes story is never a trick story.
What we call 'the news' always has tried to tell a story, and it's always told the story it wanted or, put most positively, whatever story it believed needed telling.
I have always said that after sport, I wanted a life, I wanted an opportunity, I wanted to be able to do something. And if something happens - the economy falls out or the dollar is worthless, anything could happen - you have to be ready to work. And I'm ready.
I've inherited a sense of that loss from my parents because it was so palpable all the time while I was growing up, the sense of what my parents had sacrificed in moving to the United States, and yet at the same time, building a life here and all that that entailed.
Ive inherited a sense of that loss from my parents because it was so palpable all the time while I was growing up, the sense of what my parents had sacrificed in moving to the United States, and yet at the same time, building a life here and all that that entailed.
I had the story, bit by bit, from various people, and, as generally happens in such cases, each time it was a different story.
A lot of people when they retire, they just expire. It happens to men more than women. Women usually have great interest in the family, because the family's always growing and they're always coming to the rescue.
I tell my kids all the time, 'I want you to be a great athlete, I want you to be great academically, I want you to achieve a lot of things, but mostly I want you to be a great person. If none of the other stuff happens and you're a great person, then I'm okay with anything else that happens in your life - that's the highest standard.'
As long as you're around, your life is too. So just as you shower love and affection and attention on the husbands, wives, parents, children and forever friends who sorround you, you have to do so equally with your life, because it's yours, it's you, and it's always there rooting for you, cheering you on, even when you feel like you can't do it. I gave up on my life for a while, but what I've learned is that even when that happens and especially when that happens, life never gives up on you.
So, it's always different. Some stuff, you want to do because it's a part that you've never played. It's always for story. Sometimes there's a story that you really dig, but there's no part that you're interested in. Sometimes you read a story and you say, "I could do that. I've never done that before. I could do play that part.
When I say myself, I don't mean just as a woman of color, as a girl who's growing up in the Bronx, as people growing up in some way economically-challenged, not growing up with money. It was also even just the way we spoke. The vernacular. I learned that it's alright to say "ain't." My characters can speak the way they authentically are, and that makes for good story. It's not making for good story to make them speak proper English when nobody speaks like that on the playground.
That story about the two women in my life is - a lot of people get upset, a lot of people question it. Steven Soderbergh said to me, "The story of your life is incredible. The real story of your life that's interesting, more interesting than all the other stuff - the franchises, the movies, the songs, Elvis Presley, Frank Sinatra - the real thing that's interesting and unbelievable is the relationship with these two women. And if you're willing to put that out there, you know then, you're going to have a great movie. Because that's the movie."
I've had enormous luck and enormous pleasure in working in such forms as movies and plays that I loved when I was a kid and I just - because I could always write dialogue, because I always had a sense of how people spoke. And because I had a strong narrative sense; growing up and loving stories, loving novels, I just seem to know how to tell a story and I read a lot, I went to a lot of movies, I went to a lot of plays, and it rubbed off on me. And that's all. It just rubbed off on me.
I have always believed that, in a story, if something traumatic or calamitous enough happens to a kid at a formative age, that will make him or her the adult they become.
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