A Quote by J.H. Wyman
The way that I work is that I try to work in metaphors, and you can't write a metaphor unless you know where you're going, so I always think about the future.
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I made multiple leaps where there were no guarantees that I was going to be successful. By the way, I was not always successful. But I think if you go into something new with an open mind, and you let people around you know what you don't know, for the most part they're going to link arms with you. So you can't plan a career so closely that you never make a move unless you know that it's going to work. There's always going to be risk involved in change.
Comic strips introduced me to metaphors. They are pure metaphor, so you learn how to tell a story with symbols, which is a very valuable thing to learn. And I learned that from motion pictures, too, and from poetry. Poetry is mainly metaphor. If it doesn't have a metaphor, it doesn't work.
I use a lot of similes and metaphors when I work, simply because it's my best way of describing a building or a scene. I'm terrible at describing landscapes - trees, buildings. The inanimate things don't interest me: I always think, "Oh, no, here comes another building I have to describe." So I usually use a simile or metaphor.
The thing is, to try to talk about a performance that will never be seen again, that was only lived by the people there, it's kind of like telling somebody about your dream. You know if they love you they'll listen and smile, but they can't really get it, so there is a certain infinite quality to film that is nice. You do the work and you know it's always going to be there. The flip side is if you do bad work it's always going to be there.
Writers think in metaphors. Editors work in metaphors. A great reader reads in metaphors.
Writers think in metaphors. Editors work in metaphors. A great reader reads in metaphors. All are continually asking, "What does this represent? What does it stand for?" They are trying to take everything one level deeper. When they get to that level, they will try to go deeper again.
The best way is always to stop when you are going good and when you know what will happen next. If you do that every day ... you will never be stuck. Always stop while you are going good and don't think about it or worry about it until you start to write the next day. That way your subconscious will work on it all the time. But if you think about it consciously or worry about it you will kill it and your brain will be tired before you start.
My poems always begin with a metaphor, but my way into the metaphor may be a word, an image, even a sound. And I rarely know the nature of the metaphor when I begin to write, but there is an attentiveness that a writer develops, a sudden alertness that is much like the feel of a fish brushing against a hook.
[Ernest ]Hemingway always said, "Write about what you know." I think you can do that, and if you want to write about what you don't know, you can. It just takes a lot more work.
If you don't agree with the direction something is going in, at least at work, you should always try it first, unless it's dangerous or damaging. But if you have an opinion about the direction your work should be taking, say it. Then back it up with proof and other solutions.
I've done my best to work from a place of humility - always looking over your shoulder saying, 'Does this suck?' and I think that's a good way to work. The other way to work is where you start to think, 'I'm on fire, I'm amazing!' and I don't think that's the way to work.
I definitely write about my life and the issues I might have or the dilemmas I'm going through, but usually I write about it in a general way and make metaphors. Like "I'm the wolf and you are the moon ".
I always think of the future. I think that's how I can work happily now. And I always think 'where would I be living if I married a Korean person?' I work hard now for my future, my future wife and family.
You always have to write script with a budget in mind. Although it's always good to write the big story, you really have to think about how things are going to work as far as cast, effects and settings. It's a process. You have to always think budget and then execute and make it happen.
I'm not going to tell people how to write, but we do have a skill set, and the more we put ourselves out into the world as poets, as a sort of poet of the tribe, as representatives of metaphor, and try to claim space for metaphor in the inner life, that's going to be important and be helpful to poetry and bring a tension for poets writing about whatever they choose.
Not harder than it should be, no. We're about the business, we're about the work. It's all about the work, always. We have fun and laugh and there're days that are more intense than others, but we're there to make it better. He's always going to try and make it better, I'm always going to try and make it better. So you accept anything, you accept whatever it takes to get it up on the screen and make it worthy.
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