A Quote by James McBride
My main problem with fiction is that once my characters get moving, you just have to follow them along and get out of the way of the story, but sometimes they pull me in too many directions, and I need to focus.
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Too often we just look at these glistening successes. Behind them in many, many cases is failure along the way, and that doesn't get put into the Wikipedia story or the bio. Yet those failures teach you every bit as much as the successes.
The nature of acting is that one is many characters and jumps from one skin to another as a way of life. Sometimes it's hard to know exactly what all of your characters think at the same time. Sometimes one of my characters overrules one of my other characters. I'm trying to get them all to harmonize. It's a hell of a job. It's like driving a coach.
Do you ever get moods when life seems absolutely meaningless? It's like a badly-constructed story, with all sorts of characters moving in and out who have nothing to do with the plot. And when somebody comes along that you think really has something to do with the plot, he suddenly drops out. After a while you begin to wonder what the story is about, and you feel that it's about nothing—just a jumble.
People need to trust you: that you're going to pull them out and that they will follow you when you pull them out. If they don't get that comfort, they're going to drop you. This is true of organizations. It's true of countries.
I have way too many commitments. I get pulled in too many directions and I never seem to be able to satisfy anybody. People get turned on by knowing a celebrity, even my friends and family. They feel that there's something exciting about me, but in reality there's no substance to it. People in airports just hold on to me expecting something and it seems that I always come up empty. It's frustrating because I'm trying to please everybody, and ya just can't do that ... at least I can't.
My non-fiction films are pretty much fiction, or at least close... It's all "movies" for me. I never have searched for a subject. They always just come along. They never come by way of decision-making. They just haunt me. I can't get rid of them. I did not invite them.
The problem is there are so many stories out there where I can pull that superhero out, put any other superhero in, and the story works the same. For me, that's broken. I have to write a story that no one else but Aquaman or Shazam can be in, and as soon as you pull that character out and out someone else in, it doesn't work.
Of course, even if the directors like my ideas or the designs I do, they may end up changing the story so much, that those characters have to change, or get cut out altogether, and that's just the way it is. Sometimes the directors are designers themselves, or they want to work with a character designer who will do things in their own distinct way - sometimes the most important thing I do is figure out what they don't want to do, by experimenting. Either way, whether they use my ideas or not, I get paid, so it's all good.
When I'm writing a script, I don't worry about plot as much as I do about people. I get to know the main characters - what they need, what they want, what they should do. That's what gets the story going. You can't just have action, you've got to find out what the characters want. And then they must grow, they must go somewhere.
A science fiction story is just an attempt to solve a problem that exists in the world, sometimes a moral problem, sometimes a physical or social or theological problem.
The road to WrestleMania leads us in so many directions, but we have so many amazing things we get to do as WWE Superstars along the way.
When you allow an animator to focus on a portion of the film and really understand the arc of the scene, what's happening with the characters, they can make choices all along the way that reinforce the main points of the scene. They really get to know what's happening.
I like to let the story flesh itself out, and usually, the characters make their own decisions as things get under way. Dialogue especially seems to write itself once I'm familiar with the characters and their backgrounds.
For me, you have to do as much work as you can beforehand and, once you get on stage or set, throw it out the window because you need to be collaborative. You shouldn't have too many ideas about where it goes before you get into the room with the director and other actors.
You know how sometimes department stores have these things where, if you win, you get 10 minutes to go in and take anything you want from the store? That's basically what I'm doing. I'm running in and just trying to grab as many characters as possible before they pull the plug on me.
You want to get to the top of the cliff. But that's not what you focus on immediately. You focus on the next ledge just beyond your reach, because you need to do one clever thing to get up there. And then, once you get there, you do it again. A lot of this is rather boring and not very glamorous. But you can't jump cliffs in a single bound.
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