A Quote by Glen Keane
There's a weird thing about me and characters with hair, from Ariel or Pocahontas to Tarzan with his dreadlocks and now Rapunzel... it's like I'm trying to make up for some loss in my life, I don't know what that is.
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My first book came out again - the re-issue from 2001. I was rereading it to make sure that I didn't miss any mistakes, and I didn't know who had written some of these stories. I really didn't. I am a different person now. It's weird. I think if stories are good, they have to have a life of their own that's independent of the writer. I like to think of my characters out there in other peoples' heads. That's a nice thing to think about.
I only have hair extensions because I feel like my hair is thin and I look like Pocahontas and I need some thickness and volume.
The weird, weird thing about devastating loss is that life actually goes on. When you're faced with a tragedy, a loss so huge that you have no idea how you can live through it, somehow, the world keeps turning, the seconds keep ticking.
When I was younger, I thought that straight hair was, like, the only thing. So I was trying to be like Naomi Campbell or Tyra Banks. I didn't know that people would add hair for more length. I'm like, 'Oh all these people just have natural hair like this.' I obviously grew up and figured out that everyone does something to their hair.
I've had so many parents DM me on social media thanking me because I simply have dreadlocks, because their daughters wear dreadlocks and play with dreadlocks, and I'm like, 'Well why not? Let's do it.' It's really cool to be able to inspire the younger generation of kids of color that look like us.
The weird, weird thing about devastating loss is tha life actually goes on.
I feel like hair is the number one thing that makes me feel beautiful or not. If I have really bad hair, but my makeup's beautiful and I have a wonderful dress on, I'm still not happy. So if I wake up, and I've got 2 big zits on my face and my hair looks fierce, I feel ok. I have a weird hair obsession.
It's a weird thing, beards now. I'll be in east London, and lads come up to me: 'Yo man, what beard oil do you use?' I'm like, 'I don't know what you're talking about.' It's just laziness.
What really surprised me was how strange my paintings are anyway. To me, it's like, "Let's paint some portraits and some objects. Don't make it weird, just make it dead straight," but it's still weird. I don't know why. I guess it's just the way I see things.
I guess it must be a time-of-life thing, looking back and trying to make some sense of who I am and where I've been. It's a weird thing, having to give an account of yourself, to try to make sense of yourself for yourself. I'm not that old, but I have been writing fiction professionally for a long time now. I started so young and went so hard for so long. And I guess it was about feeling I had the space to look over my shoulder.
One of the keys is, and it may sound funny, talking about characters with super powers, but one of the keys is to make your characters as realistic and believable as possible. Even if they have super powers, you say to yourself, "Well, if somebody had a super power like this, what would his life be like? Wouldn't he still maybe have to go to the dentist or wouldn't he have to worry about making a living? What about his love life?" You've got to make characters that your reader can believe exists or might exist.
When I listen to Airplanes record, it takes me back. I remember a lot of my thought processes when I was 20 or 21, writing those songs and recording that record. I wonder what I was thinking when I was trying to say a particular thing. I hear some of the weird little nuances in the recording; I can hear what the room sounded like. I remember what it smelled like. I can remember sitting up in guitarist Chris Walla's bedroom and for the first time in my life having this realization like, "Maybe I can do this. Maybe I can make music that in some capacity people will enjoy and come see me play."
For so many years, I was trying to beat my hair into submission, trying to get it to look like someone else's hair, and I didn't know how. I remember going through a phase where I even put beer in my hair, because I was told that would make it smooth and curly.
I usually base my characters on composites of people I know. One trumpet player in SIDE MAN is really a mix of four different guys I knew growing up. Patsy , the waitress, is a mix of about three different people. I like doing it that way. I start with the characters, as opposed to plot, location, or some visual element. I write more by ear than by eye. I always work on the different sound of each character, trying to make sure each has a specific voice and speech pattern, which some writers could care less about.
The first thing, when I read the script, is that I need to care about what happens and feel compelled by the story and engaged by the characters. It needs to resonate with me, even if what the characters are going through is not something that I have experienced in my life. I have to feel like it has some sort of meaning to me.
I wanted at one point to act, which is a weird thing for men to want to do. It's a very vain profession. I don't mind women who want to act. That's fine. It's odd that men want to act, in that there's still a degree of vanity associated with it. It's like, "Put on some makeup, make me look good. Okay, now I'm going to roll my shoulder." Part of me still feels like, "Wow, that's weird for a man to do."
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