All that matters to me as a reader are characters. I want characters to be real, authentic, and rounded. I will be digging into characters for at least a month. Who they are. What they are like. Outside of the story.
I can be a little bit outrageous. I can be a lot of things. I'm a bit of an adrenaline junkie, so I love to go out there and do kind of crazy stuff which is slightly outrageous, like bungee jumping, skydiving, surfing and that sort of stuff. But I also like to just chill with my friends and go and see movies and do normal things.
A Bug's Life' is a really funny movie and the characters have such different personalities. The movie is happy and then gets really sad and I'm like, W'hoa, I'm feeling this way and this movie is about bugs!
'A Bug's Life' is a really funny movie and the characters have such different personalities. The movie is happy and then gets really sad and I'm like, W'hoa, I'm feeling this way and this movie is about bugs!'
'Rocky' is a movie that just happens to be about boxing. It's really about characters and story lines and relationships and all those things, and the backdrop is boxing. You can go back and watch the final fight in 'Rocky' a thousand times. If you dig that movie, if you like the characters, you'll watch the whole movie over and over.
When you're in sync with the director, on the type of movie you want to make, the arc of the characters, how the characters intertwine and interact, plotlines and story, and things like that, it really makes a difference.
Like Nietzsche, Heidegger also gave up on the prospect that schools and universities would nurture the kind of reflective openness to the way of things that, certainly by the 1940s, he identified with authentic thinking. The authentic person is not the Promethean, iron-willed figure that pops up in Nietzsche, but someone more like the Daoist sages whom Heidegger admired.
I understand why creative people like dark, but American audiences don't like dark. They like story. They do not respond to nervous breakdowns and unhappy episodes that lead nowhere. They like their characters to be a part of the action. They like strength, not weakness, a chance to work out any dilemma.
I understand why creative people like dark, but American audiences dont like dark. They like story. They do not respond to nervous breakdowns and unhappy episodes that lead nowhere. They like their characters to be a part of the action. They like strength, not weakness, a chance to work out any dilemma.
If a movie makes it really big, they do the obvious thing, right? They make an amusement park ride out of it. ... The connection is obvious. You get off, "Man, that was just like the movie! Only the movie had a storyline and characters, and that was a little more like a roller coaster."
I like very dry humor. I don't like things that are over the top. I like subtlety. I like things that are nonchalant. I like characters that are sort of monotone and based in dark comedy.
One of the things I'm concerned about is that I really want to make sure the races of all the characters are kept. I don't like it when black characters become white in movies, or things like that.
I like very dry humor. I dont like things that are over the top. I like subtlety. I like things that are nonchalant. I like characters that are sort of monotone and based in dark comedy.
You're able to do things in novels: introduce subplots, other characters, thematic layers and so on, in a way that you simply can't in a movie. A movie really has to choose its battles.
Comedy is drama. I think that if your characters are feeling something that is very real, then they have to respond in a way that feels real to them, and some situations, the only response you could possibly have is to respond in a way that's so extreme that people are going to laugh.
People respond to political characters in archetypal ways. A fun game is to think of a politician and ask, "Which god is that? Are they like Aries? Are they like Athena?"