A Quote by James Frain
I don't keep a record of the parts I've played, and I don't compare characters, but maybe I should? I could construct a graphic that grades badness and madness levels? Interesting idea.
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Al Gore wanted to tell people what they could listen to and what they couldn't, what they could record. It was basically coming down to the idea that he wouldn't let anybody record any music that he didn't think you should be doing. There was going to be an organization that would tell you what you could and couldn't record.
The graphic novel? I love comics and so, yes. I don't think we talked about that. We weren't influenced necessarily by graphic novels but we certainly, once the screenplay was done, we talked about the idea that you could continue, you could tell back story, you could do things in sort of a graphic novel world just because we kind of like that world.
Madness is confusion of levels of fact. . . . Madness is not seeing visions but confusing levels.
The characters I tend to play are a little more interesting than the standard heroes. Romantic leads can be a little more straightforward, I guess. But it just seems to be the parts I get, I don't know what that says about me. I enjoy interesting characters and interesting people, I suppose.
Sometimes it's easy to see the negative side of things or question why people bully you. You could think, 'Maybe they're right. Maybe I'm not worth it. Maybe I should just quit.' But that's when you should fight the hardest. Now I don't mean fight physically, but mentally. Keep being you.
I've never been typed. John Wayne played 'that guy' all the time - mostly because that's all he could do. Gable played Gable parts, and Bob Taylor played Bob Taylor parts, whether he was in armor or a full-dress suit. I resisted that.
When you get an idea, so many things come in that one moment. You could write the sound of that idea, or the sound of the room it's in. You could write the clothes the character is wearing, what they're saying, how they move, what they look like. Instead of making up, you're actually catching an idea, for a story, characters, place, and mood - all the stuff that comes. When you put a sound to something and it's wrong, it's so obvious. When it's right, the whole is greater than the sum of the parts. That's a magical thing that can happen in cinema.
An electrician isn't an opinion former, but a graphic designer is. My argument is that all graphic designers hold high levels of responsibility in society. We take invisible ideas and make them tangible. That's our job.
Madness is badness of spirit, when one seeks profit from all
sources.
Early on, before rock 'n' roll, I listened to big band music - anything that came over the radio - and music played by bands in hotels that our parents could dance to. We had a big radio that looked like a jukebox, with a record player on the top. The radio/record player played 78rpm records. When we moved to that house, there was a record on there, with a red label. It was Bill Monroe, or maybe it was the Stanley Brothers. I'd never heard anything like that before. Ever. And it moved me away from all the conventional music that I was hearing.
If, at the end of the day, I can look back and see pictures of all the characters I've played, and there's a smorgasbord of weirdos and interesting, odd, different characters, I'd be so happy.
I felt there was a certain amount of violence in the graphic and that it could still be cheated on screen so you could still have a hard PG-13 and open up your audience. Anybody can read the graphic novel. If you're 14, you can go out and buy it, and I felt that if you're 14 you should be able to see this movie [The Loosers].
I think there's a lack of really, really good funny scripts out there that work on all the levels that they're supposed to - which is to say that they're not just funny but they have interesting characters that people are going to like and be invested in. I've done a bunch of movies that haven't worked but I like to think I've done some that have worked and that's because not only is the comedy there but the characters and storylines are interesting. The characters are real and relateable and people were invested in them.
If you have a car, you tune it up; you replace the parts. You try to keep it in good shape. This country has tires that are shot, a bunch of engine problems, and rather than saying, 'Okay, let's maybe put some new parts in here,' we just keep putting gas in and driving forward.
Certainly, your characters - whether they are superheroes are not - should have foibles. They should have problems; they should have things that their powers can't solve. That's what makes them nuanced, interesting characters. They can have intense motivations. They should have intense motivations to do what they do.
Artists are part of the information process... Visual history is important in providing a record of what is going on - levels of intention, levels of confidence, levels of aggression or control.
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