A Quote by Hiro Murai
I think to truly not know what to expect out of the story - to create a world where nothing is guaranteed - is sort of the backbone of 'Atlanta.'
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I'm always sort of looking for projects that I can sort of put out into the world, into the public sphere, and to somehow cause an effect. I want to be able to create projects that sort of are going to make people think and think in this sort of magical, sort of fantastical way.
I don't really want to make casual games or games with no sort of story backbone or character backbone.
The sort of formality that goes into my artwork I would not expect from everybody in the world. I'm sort of pushing that point to its limit, in my mind, but I think there's absolutely nothing wrong with using a laptop so long as we have some understanding of how it works a little bit.
I don't do all the background and the worldbuilding before I start the story. What I do is I work out the bare minimum I need to start the story, and often that really is a bare minimum - it's a character in a situation, and I know nothing about the character, I know nothing about the situation, and then I think about it for a long time, and make notes about where I think the story is going to go and so on, but I don't really make notes to do with the background or the magic system or the world.
I live in Atlanta because Ludacris lives in Atlanta. And because T.I. lives in Atlanta and because Lil Wayne comes to Atlanta to hang out all the time and because Rick Ross' engineers are in Atlanta.
I couldn't have articulated this process at the time; I just sort of did it instinctually. But now when I talk about this with my students all the time, it's one of the first things I address in memoir classes - that you have to put it all in because you're writing your way into the ending of your own story. Even if you think you know what the story is, you don't until you write it. If you start leaving things out you could leave out vital organs and not know it.
I didn't really because I know myself well enough to know that if I actually sit down and think about sort of I can spook myself out like anyone, you know? It's sort of like you've got to sort of jump out of the airplane when you're skydiving. If you spend 20 minutes sitting on the lip you probably won't do it.
It was exciting to play a gay person in high school who's really proud of himself and isn't dealing with the sort of typical story line - the coming-out story - but is already out and sort of an advocate in his own way.
'Finders Keepers' is guaranteed to create a vibe. If I'm having a difficult show, then I know I've got that song at the end to turn it around, and the phones will come out.
The beautiful thing about baseball is that anything can happen. It's like life in that way. As soon as you think you have it all figured out, something happens that makes you realize - you know nothing. The only thing that's guaranteed is that it will be an exciting ride.
I remember, when 'Atlanta' first happened, I didn't know what to expect. It felt like it was a lot of responsibility.
We do not wish to "judge" or assess out surrounding merely as a kind of expressive activity carelessly projected onto the world, but we wish to evaluate the world "correctly," i.e., in according with that it truly is, and the desire to know is directed at determining what the world truly is.
You see that in his foreign policy [Barack] Obama lacks a backbone - both a constitutional backbone and a personal backbone.
'The 100' gave me this platform I never expected. I didn't expect the character to become anything. I was originally only signed up to do six episodes, and then it just sort of become this whole story and journey, which was an amazing character, a great journey, so that has been incredible, and I didn't expect anything out of it.
I was happy, I wasn't beaten, and I lacked nothing. But it wasn't what people expect - it was very much sort of pinching and scraping. I don't know how my mother did it.
Phunny Business is a breezy, vivid, funny, star-studded and delightful valentine to comedy, entrepreneurship and the All-American impulse to make something out of nothing. The story of comedy club owner/inveterate dreamer Raymond Lambert and his heroic quest to create a safe, productive place for black stand-up comedians to hone their craft and find their voices isn't just a great Chicago story and a great comedy story: it's a flat-out great story, lovingly and engagingly told.
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