A Quote by J. Michael Straczynski
The whole point of having great characters is the opportunity to explore them more deeply with time, re-interpreting them for each new age.
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Commercials are also any opportunity to meet new crew and work with new kind of rigs. You can explore working with different people without having to make the full commitment of having to do an entire feature film with them and see whether you like them. Also it's great for testing out new equipment, like on the last spot we just did, I used a lot of drone technology, really cutting edge drone stuff, more than I've ever done before, and it worked out really really well.
'Transparent' was huge for me when I first saw it. I felt that, from an authorial point of view, no one was trying to sell characters to us, you know? It's the idea of not having to adore these characters and want to cuddle them; you just have to be into them and their psychology and be compelled by them.
Having great friends in New York is like having great friends on an expedition into Darkest Africa in the early 19th century. You need them. And you need sponsorship on a daily basis. I have a painter friend here who says, 'I need two compliments a day just to break even.' And we gave them to each other, and we got them - and honestly got them.
The supporting characters typically carry less story/plot weight - so you can be more broad and pushed with them. Supporting characters also take up less of the film's screen time. A short is a great opportunity for supporting characters to shine.
I want to explore a new place each year, and it can be within India. When I was shooting for 'Mohenjo Daro', I couldn't travel out of the country for two years. But it gave me an opportunity to explore new places within India. I'm sure there are so many places to explore in India, and I would love to go there.
The whole point of 'The New Mutants' was that the oldest of them, Sam, and maybe Dani Moonstar... they're 15. Rahne is 13. They are kids still. The whole point of being kids is half, if not two thirds of the time, they're making mistakes.
A good tracker is interpreting all the time, from every little sign, you know? Not just interpreting the age of the tracks but also: Is it wounded? Is it hungry? A good tracker is interpreting a lot.
I'm having an unbelievable time on the road. I am taking the time to explore each new city in a way I never have before.
I would like to carve my novel in a piece of wood. My characters—I would like to have them heavier, more three-dimensional ... My characters have a profession, have characteristics; you know their age, their family situation, and everything. But I try to make each one of those characters heavy, like a statue, and to be the brother of everybody in the world.
We're living in a whole new social and economic order with a whole new set of problems and challenges. Old assumptions and old programs don't work in this new society and the more we try to stretch them to make them fit, the more we will be seen as running away from what is reality.
I believe that if the story is fleshed out and the characters more believable, the reader is more likely to take the journey with them. In addition, the plot can be more complex. My characters are very real to me, and I want each of my characters to be different.
I very much write from characters. Those people start speaking, and then I have them in the house with me and I live with them. Then at some point, it's time to get them out of the house. You can only live with someone like Dr. Georgeous Teitelbaum from THE SISTERS ROSENSWEIG for so long, and then it's time for her to go. But it is very like having the company of these people and trying to craft them in some way into a story.
That's what's great about the Batman universe. When you explore Gotham, when you explore the villains, all of them point to this one character. This iconic American symbol for how we deal with pain and loss and how we move forward after it.
I don't know if it's a sadistic side or whatever, but you take characters and put them in really awful situations and make them go through that. And it's very satisfying as a director to explore that, to tell those stories and to explore those themes, because it is so human.
Mitch and I have known each other for such a long time, and we're both so pleased to be given this opportunity at this point in our lives to play characters that we've never really had a chance to play before. It's a great gift. Plus we're wise enough to appreciate it.
There are too many positive and goody male characters on TV, and they work, so its good for them. I feel each to their own. If it works for them, it's fine. I don't connect to such characters, so I won't do them.
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