A Quote by George Michael
When I write and produce something, I know exactly how I want it to sound, and I have a very strong interpretation of it. I can't really think of anyone at the moment I'd particularly like to play a duet with. You never know, though, I might receive an offer tomorrow and say, "Yeah, that'd be great." But it's not something that's on my mind.
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I think strong rhetoric and strong action are two separate things. Anyone can use tough words. Anyone can go over the top and say things that sound strong. But sounding strong is not enough. You have to know exactly how you're going to do it. And if you look at some of the policies he's talked about, they would not make America stronger.
When I think of the things that I want to write, I can never say them out loud because I know how crazy they sound. I know what things sound like when you haven't actually worked on the script, so I don't go around saying some of these ideas because they just sound awful.
And then afterwards I worked in advertising for a year which taught me about writing even when you don't want to (laughter) because there's never a moment that you want to write about an Erickson cell phone but you have to. And that's really important you know obviously for the...like if you really want to write, you have to write every day no matter how you feel or you know. And then, yeah, and then I ended up working in TV and then from TV into movies and then directing, so.
Sometimes it's not like I write very specific, it's more like I add an atmosphere almost to something that might have been quite awkward in my mind from the beginning. Something has happened and I want to force myself to think of it in a more positive way. And then I force myself to write something that convinces me that this is actually something pretty good or something that I learned something valuable from.
I've been mayor so I believe there is something else for me. I don't know what that is yet, but I definitely have a testimony now brother! As far as talking to young couples, talking to brothers who are strong, they have it going on, they know exactly what they want to do, how they want to do it but they don't have any God in their life. They don't really move by a spirit. They are not really connected to the community. There is a testimony in here somewhere that I think I can share but I don't know.
In music industry they always want you to write something like the one that was popular. And that's something you kind of have to just - sometimes you just say yes to people, like, "Yeah, yeah, yeah, sure," and then you just write the one you want to write.
I'm self-critical but also, I'm not a very modest person. I'm self-critical in the lead-up to showing anyone anything. You know how people say they write, like, 30 songs and then they'll pick the ones they're going to put on the record? I don't ever get to that point because I self-edit so harshly at the beginning. I would never let anyone hear something that I wasn't happy with. But then once I've made it, I'm also not going to turn around and go, "Oh, yeah, I don't know..." If I'm putting it out, anything creative that I do, I think that it's good, otherwise I wouldn't put it out.
I feel like it's probably very out of character for Anthony to break into song. I feel like he might play the flute or something, like a really weird European cinema moment where it gets really odd and he serenades his love in music. You never know with Bridgerton.'
Let's say I've directed that [writing] energy into writing my latest book but suddenly, I really want to write about an onion. I don't say to myself, "No, you have stay on the subject," because I know that the longer I stay on the subject the more boring I get. So, if my mind wants to write about an onion, it might be a deeper way to go into what I'm working on, even though it might seem irrelevant. This is how I've learned to follow my mind.
You might not feel like playing pretty all the time. Instead, you might want to play something nasty....you might want to play something out of context with the tune. It might be a note that creates so much tension it becomes unpleasant, but you want it to sound that way.
You have to remain strong. That's the kind of filmmaker I want to encourage. Orson Welles was the one who said, you know, you can learn anything you need to know about filmmaking- that's camera, sound, celluloid, video at this point- in four hours. It has nothing to do with anything. It has nothing to do with it... It has to do with what you want to say. If you feel you have something to say, you'll find that way to get it said, on film, and not let anyone or anything chip away at that or tarnish it, because it's something special and precious.
When my parents realized that what I liked was fashion, they gave me good advice. I remember my father telling me that I should try to do an internship. They never said, "This is a world we don't know; it might be something strange," or "That is not serious," or things like that. They always said, "Try. We'll help you. We'll send drawings to people if you want. We'll write letters for you." What I'm very thankful for is they never made me think that something was impossible. They were really, really supportive. They are still.
I don't want to sound pretentious or meta or anything, but I don't write until it comes to me... People know when something is inspired and when something is not, and I don't want to waste anyone's time.
I generally go into a movie with a very strong vision, with how I want to make the film, how I want to shoot the film, how I want to edit the movie, what I want the sound to sound like. So I have a very concrete idea even if I don't storyboard it, I know exactly what I want to do once I get into the sequence. Now having said that, I try not to let that slave me to the process. So if I do storyboard a sequence I don't necessarily stick to it if I discover more exciting things on set.
I just feel like there's something to be said about feeling comfortable with what you have and don't have. And - for instance, I don't think I'm particularly a great singer, but I feel like I write songs that complement my voice, you know, and I feel like it's unique. And I don't feel like I'm particularly a great actor, for instance, but I feel like I approach each thing that I do with some level of sensitivity. And I would say that comedy in general is the most disarming.
When someone asks me to do something, something new, something I don’t know about, and if I haven’t done it, I’ll say yes. Just so I can try something new. You never know what you might like.
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