A Quote by Jonathan Safran Foer
My greatest fear is feeling like a professional novelist. Somebody who creates characters, who sits down and has pieces of paper taped to the wall - what's going to happen in this scene, or this act. What I like is for it to be a much more scary, sloppy reflection of who I am.
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'Evita' was four pieces of slick paper and a record album. It's the most scary, to sit down and dictate a musical scene by scene. It was a musical unlike anything I'd ever seen before myself.
The Villain wasn't necessarily something I sat down and thought, 'Oh this is going to be my character.' It's most like other great wrestling characters, where it's more of a reflection of my actual character.
You kind of notice what's going on in your body, and you can kind of feel a certain tightening, or fear, which is something that, as an artist, I've kind of befriended. I can pretty much count on it for anything that I engage in - that thing like, "Am I going to be able to pull this off?" Well, what am I gonna do with this feeling? The more nervous you get, the more worried you get about it. So you pay attention to what you might need.
I find that when you open on a group of people sitting down and talking, the scene sits down with them. The best antidote for that is an entrance. Begin the scene with someone entering, and somehow it’s more interesting.
It's like why people read scary books or go see scary movies. Because it creates a distance. They're scared, but they're not going to get hurt.
When I've known something is right, the actual doing of it is not scary. It's like being onstage or performing. After it and before it, there might be a lot of fear, but the act of it is never scary for me.
What I wear is a reflection of where I am going and how I am feeling. If I'm in a good mood, it's got to be cashmere and jeans - just something comfy, soft and warm. When I'm down, I might find something that I haven't worn for a while that was bought for me - or wear a brooch or a pair of shoes that are like old friends.
Breaking down that wall is the kind of story that might have a happy middle - oh, look, we broke down this wall, I'm going to look at you like a girl and you're going to look at me like a boy, and we're going to play a fun game called Can I Put My Hand There What About There What About There.
[While voicing] you have to create a feeling for what happened before a scene, what's going to happen after a scene, and what you are doing in a scene. You need to use your imagination even more and once your emotions are up, then your voice and expressions will go accordingly.
The actor already comes with emotions to the scene: fear, the fear of being in front of the camera. It is this fear that spurs the emotion of the scene. I too am afraid; I don't know exactly what I am searching for. On the set, we are all participating in this fear together.
I'm always jotting things down on pieces of paper. I've got pieces of paper all over my house.
You got to be able to love again. You got to give everybody a fair chance. Everybody deserves a fair chance. I'm talking about building that wall, coming out of a relationship and feeling like, well, I'm going to hold back. You turn into your ex. When you find a person that's worth letting your wall down , and you feel it in your stomach, just don't fight it. Just let it happen.
Basically, it's somebody who got stuck having to interview me who really wants to be a novelist, so they're writing these novellas and I was like, "It's not true, that didn't happen, they just made all that up! Why don't they just go ahead and be a novelist instead of bothering with interviewing me?"
What I wear is a reflection of where I am going and how I am feeling. If Im in a good mood, its got to be cashmere and jeans - just something comfy, soft and warm. When Im down, I might find something that I havent worn for a while that was bought for me - or wear a brooch or a pair of shoes that are like old friends.
Storytelling is more like a skin. You start with the outermost layer, what it's going to look like, then you kind of get deeper into it. What's actually going on beneath the surface is not really dictated by or related to the surface genre. It's more about what's going to happen between the characters and what's taking place in the story.
Mexico is not going to build it [a wall], we're going to build it. And it's going to be a serious wall. It's not going to be a toy wall like we have right now where cars and trucks drive over it loaded up with drugs and they sell the drugs in our country and then they go back and, you know, we get the drugs, they get the cash, okay, and that's not going to happen.
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