A Quote by Geoff Johns
I want to do character driven epic storylines with Throne of Atlantis kicking off.
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I love kicking off. Just like anyone else, after a while, you're like, 'Man, I don't want to practice this.' But I love kicking off and I want to try to do it as long as I physically can do it.
I really want to pop the crowd. I want to show off. That is the one thing that I've always loved about my career is I just want to show off. I always hated the storylines.
It's really hard to perfect one aspect of your kicking game when you're spending some of your time kicking with a holder, some of your time kicking off a tee, and some of your time drop-kicking the ball. To be able to concentrate just on my punting responsibilities will do wonders for me.
To me, it all comes down to things being character-driven. It's hard for me to look beyond that. CG and all this cool stuff - so be it. But to me, it pretty much begins and ends with character-driven plots rather than technologically-driven plots.
For big Hollywood movies, I'm on the more character-driven side of the equation. So, TV is a natural place for me to be because you've got no choice, but to be character-driven.
The interest in character-driven content over narrative-driven ditto is increasing; that's why television steps in. Personally, I love it, since psychology and character, really, are my beacons.
We always knew that we wanted to keep Atlantis off for a while and when it did show up, to make it a big story. The goal for Aquaman was to position him as an A-list character; position him as an important member of the Justice League.
It's about Loki's journey, and he's a character that wants the throne in episode one whereas by the finale, he doesn't want that.
I know that I'm very susceptible to getting caught up in storylines like, "I want him to be different. I want him to be more open. I want him to call." We have all of these storylines that kind of take over sometimes, and I think there's real grace and a peaceful heart at the center of just accepting what is, and knowing that everything's OK. The good, the bad, the ugly, the pain, the hurt, the frustration - all of that is valuable and part of this human experience, so we should lean in to all of it.
Pay-per-views bring conclusion to storylines and what has been going on from television. It is important to give viewers satisfactory pay off over storylines and that is why pay-per-views are important.
I'm fortunate enough to pull off glamorous as well as strong, character-driven roles.
When I am kicking around show ideas, or really any idea, usually an image comes to me. I don't really start with a character or a logline like, "What if the electricity turned off?"
What you've got to realise is that footballers, and me in particular, have seen everything in the changing room. Everything. I've seen the manager kicking off with the players, the players kicking off with him, players fighting each other, managers fighting, everything.
I think the only thing that we know how to do is look at our characters and ask what is the character doing right now and what do we need to do, and tell it from that place. If we really make it character driven and theme driven, I think we're going to offer up something new for the audience.
One phrase you don't want kicking off your obituary is, Never, in the long history of bungee jumping.
Watch them clamber, these swift monkeys! They clamber over one another and thus drag one another into the mud and the depth. They all want to get to the throne: that is their madness — as if happiness sat on the throne. Often, mud sits on the throne — and often the throne also on mud. Mad they all appear to me, clambering monkeys and overardent. Foul smells their idol, the cold monster: foul, they smell to me altogether, these idolators.
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