The challenge is always as a writer, is this going to work, because it's a very intimate process, and I tend to be very introverted and insular, and when I write, it's in my head.
Every year is different. I'm not getting any younger trying to keep it going. It's always a challenge. It's like a boxer going into a ring. You never can tell what's going to work and what's not going to work until you're in action and everything is going on around you. It's very intense and always a challenge and always a thrill.
I grew up very introverted and I'm still a very introverted person, so to me it's about constantly just pushing and pushing out of your comfort zone because that where you're going to grow the most.
Magicians are typically introverted; they don't tend to work with others, but I work with software programmers, composers, designers, so it's a very diverse group and the result is always more interesting than something I could have done by myself.
If you see me performing, you're going, that guy is simply the most extroverted guy I've ever seen. But if you've seen me very often on a daily basis and all the while growing up, I was very, very introverted. Very introverted. So I have sort of the extremes of both of those characteristics.
If there's anything weirder than an introverted writer going to lots of social functions, it's an introverted writer being converted into an accidental guru.
My biggest challenge was moving from photography to film without losing my way of working - which is very intimate and learning to collaborate with more people, since photography for me is a very solitary process.
If somebody has something negative to say, I'm a very - I won't say introverted, because I'm not introverted - I'm a very, just, calm person.
Because I write fiction, I don't write autobiography, and to me they are very different things. The first-person narrative is a very intimate thing, but you are not addressing other people as 'I' - you are inhabiting that 'I.'
I think I was always writing books that had very clear scenic structures. I do tend to write in scenes. I do tend to have a fair amount of dialogue. And I do tend to use stories that don't sprawl all over the place, that have a very sharp focus in terms of how they unfold in time.
I tend to work in layers. There's a huge orchestra in the film, but I also record a lot things with very intimate groups, and I like to be able to use the textures of those intimate groups.
I have the good fortune of working with two brothers who are very accomplished, incredibly smart, and very capable. So thankfully there is not an issue in that regard where somebody isn't pulling their own weight. We collaborate all the time. We tend to take different paths, but we tend to reach very similar conclusions. It's actually great because it allows us to be much more creative in the process of getting things done.
Everything about the music industry takes away from you as an artist. They're always wondering what the next thing is: 'What do you have?' It's a very introverted process.
The process of getting conscious, for me, was a very, very uncomfortable, disturbing, and sometimes physically painful process. And so that's the standard to which I write, because it was what I've experienced over my time.
In acting process, it's very difficult to explain. It's something very intimate, very private
In acting process, it's very difficult to explain. It's something very intimate, very private.
I've always been introverted and so from a very young age I would play different scenarios in my head and let my imagination run free.