A Quote by Jessie Mueller
This business is crazy-pants. We flit in and out of these fantasy worlds and these intense periods of work and camaraderie, and then it goes away, and you do it all over again.
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You always start with a fantasy. Part of the fantasy technique is to visualize something as perfect. Then with the experiments you work back from the fantasy to reality, hacking away at the components.
You land Saturday to get to the live event, I go right to the gym, work out, then we have to be at the venue at 5 P.M. for a 7:30 P.M. show. Then you drive to the next city which might be three or four hours away and you do it all over again.
I go through periods where I don't shop at all, and then I go crazy and buy everything in sight. I never know what to wear, and I'm at my worst before an audition. I pull everything out of the closet, throw it on my bed. I'll get entirely dressed and then take it all off again until I'm in a kind of frenzy.
I'm not one of those actors who gets so taken by a role that I can't live my life. I'm the type of actor who goes to work, transforms into a character, takes you on a journey, and then comes back home to be Billy. When I'm in it, I'm in it, but I know how to get out of it. When you can't shut it off, you're a crazy person. I'm not crazy.
You know, usually with movies there are periods, dark areas, where I might not be getting what I wanted out of a theme. I'll have to go over and over it again.
Like I said, when all of that goes away and you just completely lose yourself in the fantasy of it, then that's usually when I walk out of the theatre or turn off the television and just go: "That was brilliant!"
This is the eighth game in the series and when we work on a Mario Kart title, we work on courses and we create them and then we work on them again, and again, and again, and we revise until we come up with something that we think is going to be fun for everyone to play over and over again. So we have a lot of confidence in our ability to do so, but we understand what a tough challenge it is to create those courses.
Value investing doesn't always work. The market doesn't always agree with you. Over time, value is roughly the way the market prices stocks, but over the short term, which sometimes can be as long as two or three years, there are periods when it doesn't work. And that is a very good thing. The fact that our value approach doesn't work over periods of time is precisely the reason why it continues to work over the long term.
To be a writer is to throw away a great deal, not to be satisfied, to type again, and then again and once more, and over and over.
The thing about theater that always and still kind of makes me edgy is that you work and work and work and work, and then you're just in performance mode, and then you have to just be on; the work is done, and then you just have to do it over and over again, so you're just constantly at that performance level.
It was a bizarre existence I led in my early twenties - that cliche of the comedian who goes out and entertains a roomful of people and then goes home to a lonely bedsit was unbelievably poignant for me because that was exactly what I was doing. I had periods of real loneliness.
The great thing about the animation process is that is goes from, I write the lines, it goes to the actors, the actors bring a whole world to that, they bring the characters to life, then it goes to the animators, then it goes to the editor who cuts it together, and then you screen it and it goes back through the system again.
From my experience in my country, America over and over again takes itself right to the brink, it puts one foot over but it never goes over. It wakes up at the last minute and says woah, and then pulls back...
I never had a doubt about wanting to be an actress, but certainly when there were periods of unemployment, I would think, "Oh, I'm never going to work again." The only thing I don't like about it is the business part of it - the negotiating and all this stuff that you don't learn in school. I'm not good with business.
The British model, which I've always thought was great, is that you do a TV show and then they sell it. Then you can buy it at the video stores forever, so it never went away. But American TV used to be if you had a show and it got cancelled, then it never existed. It was just this thing you heard about and you couldn't see it again. There is something so great about shows getting released and people getting to watch them over and over again. It definitely takes the sting out of it.
I've always written towards movies that take place across two worlds. Most of the movies that I've worked on take place in two worlds, or sometimes three worlds, where you have a normal world and a fantasy world that mix and overlap. I never shy away from the series stuff in the real world. Big Fish is about mortality.
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