A Quote by Genndy Tartakovsky
Going from 'Dexter' to 'Powerpuff,' there was a lot of dialogue, there was a lot of... you know, we did action, of course, but I was getting burned out on the words, and both shows had this big, thick black outline.
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I don't write shows with dialogue where actors have to memorize dialogue. I write the scenes where we know everything that's going to happen. There's an outline of about seven or eight pages, and then we improvise it.
First, there was 2 Stupid Dogs. Then, Dexter's Laboratory. And now, Powerpuff Girls. There were a lot of little things in between, but those were the main ones.
When I did 'Good Guys Wear Black,' I had a lot of dialogue in that movie.
I think the way WWE Studios is going now - they're going away from action, doing more drama, more comedy - it will open a lot of people's eyes. Because a lot of people see big guy, big frame: action superstar. We've proven, especially with 'Legendary,' that that is not always the case.
I binge write, basically. I do a lot of prep, research, setup. I'll have a pretty detailed outline. Sort of like a beat outline. And then I'll add little notes and dialogue ideas, and I'll just create a 20-page document.
I had been in Africa for six weeks on a safari with my family. I said, "You know, I made a lot of money. I am getting kind of burned out. I really want to do something special." So I went on this extended trip to Egypt, Kenya, Sardinia - I really did it, man. I was coming home, and while I was gone, they changed the speed limit from 65 to 55.
I know, a lot of the films I've done, it's obvious I'm going to beat up six guys and just walk out the door. There's not a lot of motivating factors - it's just action for the sake of action.
You know, there's still a lot of great songwriters out there who hand in songs. And there's a lot of brilliant singers and performers out there who sing other people's words. I enjoy doing both.
Now it's time to play a brand new game called Name That Barcode. Here's the first one: "Thick black, thin white, thick black, thick white, thick black, thin white." OK who's going to identify that?
The dialogue is out there, the veil has been lifted. We all know that there's a ways to go. We're still fighting uphill battles, and you just have to hone in on making change, one dialogue at a time, one course of action at a time.
One time I had an awkward moment on purpose, you know, just to see what it feels like. I slipped getting out of my car at a big event. I got out of the car and fell face first into the street. A lot of cameras were on me. I was pretty embarrassed. I did it on purpose, though.
I am a big outliner. For my adult book, 'The Visibles,' I did not outline, and it took me two years to write because I just didn't outline, and I had no path.
I did the 'Bionic Woman,' which of course had a lot of humor in it, and that was really a function of a lot of the ad-libbing and the things that I did in it.
From 1940 to about 1960, I had been writing just regular comics, the way my publishers wanted me too. He didn't want me to use words of more than two syllables if I could help it. He didn't want me to waste time on worrying about good dialogue or characterization. Just give me a lot of action, lot of fight scenes.
I think, a lot of times, network shows are under a lot of mandates. There's a lot of moving pieces. There's a lot of money. There's a lot of people who are going to be disappointed if anything goes wrong.
[T]he Nixon campaign in 1968, and the Nixon White House after that, had two enemies: the antiwar Left, and black people. You understand what I'm saying? We knew we couldn't make it illegal to be either against the war or black. But by getting the public to associate the hippies with marijuana and blacks with heroin, and then criminalizing both heavily, we could disrupt those communities. We could arrest their leaders, raid their homes, break up their meetings, and vilify them night after night on the evening news. Did we know we were lying about the drugs? Of course we did.
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