A Quote by Joey Skaggs
If I'm successful in fooling a wire service, I don't really have to do anything else to promote the story.
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I stopped watching TV because of 'The Wire.' Like, 'The Wire' ruined everything for me because I don't even want to watch anything else now.
I don't really get attached to anything. I'm pretty brutal about cutting stuff. With each successful movie, I've discovered anything that's not connected to the immediate story is going to be cut out of it.
Being a celebrity or anything else where you're really ambitious, it's really a game to see how successful you can get.
I think a lot of creators are attracted to those toys they got to play with when they were young, and everyone wants to write a Superman story or a Batman story or a Spider-Man story. I don't know, if it's been successful for me, it should be successful for anyone. "Hit the ground with your feet running" is the secret of breaking new characters when it seems like no one else is having any luck.
George Bush asked me if there was anything he could do for me, and I said, "Yes, you can help promote peace in Sudan after eight years of different policy." And he said, "I'll do it." So to make a long story short, he did it, not necessarily because I requested it, but they were very successful.
I don't really like to promote anything, but I will promote things I believe in and things that work.
You have to do three things really well to make a successful film. You have to tell a compelling story that has a story that is unpredictable, that keeps people on the edge of their seat where they can't wait to see what happens next. You then populate that story with really memorable and appealing characters. And then, you put that story and those characters in a believable world, not realistic but believable for the story that you're telling.
If nobody is looking for a story, and I have no reason to write a story, I would really much rather to do anything else because it's no fun writing stories, particularly not for me. I just do it in order to sell them and make a couple of bucks.
I start with the story, almost in the old campfire sense, and the story leads to both the characters, which actors should best be cast in this story, and the language. The choice of words, more than anything else, creates the feeling that the story gives off.
When we're in the story, when we're part of it, we can't know the outcome. It's only later that we think we can see what the story was. But do we ever really know? And does anybody else, perhaps, coming along a little later, does anybody else really care? ... History is written by the survivors, but what is that history? That's the point I was trying to make just now. We don't know what the story is when we're in it, and even after we tell it we're not sure. Because the story doesn't end.
Trade shows such as the wire tappers' ball are highly secretive and ban journalists from attending. None of the U.S. agencies that attended the wire tappers' ball - including the FBI, the Secret Service, and every branch of the military - were willing to comment when a reporter queried them about their attendance.
When you are in the middle of a story it isn't a story at all, but only a confusion; a dark roaring, a blindness, a wreckage of shattered glass and splintered wood; like a house in a whirlwind, or else a boat crushed by the icebergs or swept over the rapids, and all aboard powerless to stop it. It's only afterwards that it becomes anything like a story at all. When you are telling it, to yourself or to someone else.
You don't pay any attention to anything anyone else says, no opinions. The important thing is to explode with a story, to emotionalize a story, not to think it. You start thinking - the story's going to die on its feet.
'Stand and Deliver' has been the most successful thing I have done in my life. So many people have seen it. There was really no need for me to do anything else.
It's up to me to promote my faith and somebody else to promote theirs. Let the government just protect our right to do so.
I can honestly say, there was a moment when I was writing 'Upstream Color' where I fell so hard for what it was becoming that I couldn't think of anything else. I was absolutely secure in this story in the way I'm rarely secure about anything else in my life.
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