A Quote by J. J. Abrams
I do think that at a certain point, the reboot sequel mode has to give way to original ideas and back to a place where, you know, films are, you know, a medium and the cinema is a place you go to see something that is, you know, wholly new.
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You must have a room, or a certain hour or so a day, where you don’t know what was in the newspapers that morning, you don’t know who your friends are, you don’t know what you owe anybody, you don’t know what anybody owes to you. This is a place where you can simply experience and bring forth what you are and what you might be. This is the place of creative incubation. At first you may find that nothing happens there. But if you have a sacred place and use it, something eventually will happen.
You know, some people say that Cannes is the worst place in the world to see cinema. It's a paradox. They have the new films , lots of interesting films premiering there for the first time. At the same time it's such a mess and a confusion. You have to run from one screening to another.
People look at you, and they think they know you. They think they can place you in a certain category by what they think they know about you. But there's so much more to all of us than what we know and what we see at face value.
If you're going to reboot something, reboot it in a totally original way that speaks to a new generation.
Like every New Yorker, I know this place is magic. I know this place is amazing. I know that we have come back time and time again from a great recession, from high crime rates, from 9/11, from crisis after crisis.
I found that most people don't really want to know the truth. There are plenty of people who want to know the truth on their terms or require that the truth be contained within certain boundaries of comfort. But truth can never be known this way. You have to seek truth from a place of not knowing, and that can be a very threatening place because we think we already know the truth or we are afraid of what the truth might be.
My revision methods are chipping things away and moving them around and trying to get things right. I'm also open in my own writing to failure. I want to fail. I want to go to a place where I don't know what I'm doing, where maybe I'm lost. And in that uncertain space, I make decisions, and I know all those decisions are going to change everything else. And at a certain point, you just come to a place of rest. In revising, you reduce your options so that nothing is possible, and you just think, I can't change this anymore because I've already passed that decision point.
You can go anywhere in New York. There's always something to do in New York. There's always a place to eat no matter what time it is. There's always a place to work, a place to drink. It's conducive to my lifestyle. I don't know how to drive a car, so I like to be able to walk places.
We see the sea as this place of leisure and this place, you know, a blue patch on the map to fly over because we all go by plane these days, mostly. And we don't really see it as a place of industry anymore.
I think every single one of us can think back on the key individuals in our lives who really made a difference, and also maybe some of those who sent us astray. There are those are the teachers who are brave enough to buck the system, and obviously not in such a way that jeopardizes their jobs, but brave enough to say, "I know I have to accomplish that, but I want to know how I'm going to help this child get there differently. I want to know what makes this child tick, and I want to help him get there from a place of curiosity, rather than from a place where I impose my ideas on him."
I believe, you know, as history unfolds, certain films will disappear, and certain ones will stand the test of time. And you never know which ones those are. And you've just got to go for the opportunities of films you think might be memorable.
Writing for children is my... that's my medium, you know, and the medium is the picture book, which is a very particular kind of book. I try to give children what I would give anybody, you know. I become interested in something. I find something fascinating. It has to fascinate me, and then I want to give it to them.
I don't have a permanent place where I live. I'm in Atlanta about six or seven months out of the year. I gave up on my place in New York. I don't have a place in L.A., but sometimes when I go there for the hiatus, I stay in temporary housing. It's all over the place, and I don't know where I live!
When you're talking horror or sci-fi, you're working in a genre that has loosely certain thematic elements, or, you could even call them rules. But rules are there to be broken. I think that young filmmakers should go all the way back to the history of horror, from silent films like "Nosferatu", and through to today's horror films, so they understand the history of horror films and what has been done. Understand that, and then add something new or original.
I think that probably the moments of discovery do come from a place that is not totally organized. Order is something that we already know about. Discoveries are in a place we don't already know about.
In a way, whoever you know in a certain place defines that place for you.
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