A Quote by John Francis Daley
You become sort of insulated in this bubble when you're working on something that it's hard to have an outsider's perspective on what works and what doesn't so it's always good to see what other people think.
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Mary's [Hamill] working from an outsider perspective and I'm working from an insider-outside perspective. In this case, it will bring an added dimension to the visual aspects of the work. Also the processes and approaches that I'm thinking are about learning. I'm playing it by ear to experiment and see what happens.
Anything that I'm doing I think I always come at it from an outsider perspective. The first like real front page story that I had for the Times was about how after decades of battles over public restrooms in New York City, effectively chain stores had become the public restroom of choice for New Yorkers, it's sort of a silly little thing, but coming as an outsider, I was like 'Oh this is actually really interesting.'
America as a setting seems inexhaustibly fascinating to me, and I think there's something about the outsider viewpoint that works for me. Being of Jewish descent in England always carried a vague sense of being foreign, while not being a practicing Jew made it hard to think of myself as fully Jewish either. So living here in a way just clarifies that terminal outsider position - makes it somehow official, which I like.
I did not always trust my teachers, because I found them too weak. I was looking for something that could take me in a new direction, for things that I could admire. And because it was so hard to find this, I became a sort of outsider. That's why I began to identify with the insane, "outsider" artists.
Every good artist I know, I always think works hard, we're working all the time.
Once I get on something, once I have something that I'm working on, then I become very obsessive. In a good way. I mean,... is there a positive way to say obsessive? It's a good thing and if you're out there and you're working on something right now and you're crazed and you're up in the middle of the night, or you can't stop thinking about it, or you have to keep reading other things about the subject that you're working on or whatever. That's good and I think that's necessary creatively.
I’ve always been a sort of self-imposed outsider, not a geeky outsider or a snobby outsider but, I just have a natural desire to live on the fringe. I’m not like a weirdo with a trench-coat but I just prefer to be alone or minimally surrounded by people.
It's interesting to see how a lot of people don't see the other side of the coin. Since they haven't been there. Someone might suggest your character say something that they'd never say. It doesn't occur to them that there are people who think differently about something, from another perspective.
I've always found credit isn't just something you take - it's something people give you when they see how hard you're working.
I think a good quarterback or a good linebacker, a good safety, even though you have a lot of bodies moving out there, it slows down for them and they can really see it. Then there are other guys that it's a lot of guys moving and they don't see anything. It's like being at a busy intersection, just cars going everywhere. The guys that can really sort it out, they see the game at a slower pace and can really sort out and decipher all that movement, which is hard. But experience certainly helps that, yes.
I build duets into bigger works. I like to see people working together. What we call a giant solo in my company is about four bars long while twenty other people are doing something dynamically. I like the charge that is set up by a lot of people doing something.
People might think I'm very hard, what with my black make-up, my hair over my eyes, etc. My innocence didn't always help me, but it did preserve something in me that maybe others don't have anymore. I'm inside my bubble, you could say, and thankfully so, because I don't think daily life is always great. It protects me.
I allegedly am an outsider writer, so I write from the perspective of somebody who doesn't completely fit in. But at the same time, I can state the fact that I don't know of any good writer who is not an outsider writer.
As you are working on ideas, you are in a bubble, working on your images. What's important to me in my work, I like this idea of communicating through a piece of art so works don't have to be exchanged. They're okay and they're helpful but most importantly that the image will convey something in my mind that I was trying to communicate and then you have that connection.
I tend to write about people. I look at things from the bottom up and from the perspective of outsiders. A part of me just identifies with them. It's my messed up internal nature that I always feel like an outsider. It's just my nature. At film festivals, I was an outsider for sure, but I always felt like one as well. I have that feeling at parties, too. I don't belong there.
I think being an outsider in general always helps you in comedy. I think it helps to have an outsider's eye. And so I have an outsider's voice. You know, as soon as I start talking, I don't belong here. And I think that helps in a way.
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