A Quote by Karan Bajaj
A lot of the book [The Yoga of Max's Discontent] is about karma and rebirth. Things like that are very attuned to my life as an Indian, but when I approach it from a perspective of a Westerner, then I have a skeptical, yet kind of novice view on it. I think that choice really liberated the story to be its own story. A lot of the conclusions that Max reaches on his own are not mine at all. So, I think that allowed the story to take on its own momentum, to have its own propulsive force.
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One of the great things about being a director as a life choice is that it can never be mastered. Every story is its own kind of expedition, with its own set of challenges.
The best time to tell your story is when you have to tell your story. When it's not really a choice. But then, when you get that first, messy, complicated version down, you have to read it over and be very tough on yourself and ask, 'Well what's the story here?' If you're lucky enough to have someone you trust looking over your shoulder, he or she can help you if [you] lack perspective on your own story.
Almost every yogi that appeared in the book [The Yoga of Max's Discontent] is either somebody I have seen and met and spoken to, or someone who is in my three degrees of separation - I know the source who talks to me about it so well that I believe his story.
Each of us is our own story, but none of us is only our own story. The arc of my own personal story is inexplicably and intrinsically linked to the story of my parents and the story of my neighbor and the story of the kid that I met one time. All of us are linked in ways that we don't always see. We are never simply ourselves.
I'd love to do a love story. I've never done a true love story, which would be awesome. But then again, I don't think I've had a true love story, even in my own life. Maybe that's something I want to explore in my own life first.
Themes don't change very much in story telling, and I think each writer has his or her own territory; however, I think craft and style take a lot of time to develop. I don't think there's any other way to develop your own style without reading your betters.
When you do these things, you sort of take the journey. The journey is all about how I can interweave the Oscar Wilde story, the story of Salome, the play itself and what it is, what it contains, and my journey as an actor, as a director, as a filmmaker, as a person struggling with whatever I'm struggling with - my own celebrity, my own life. This is semi-autobiographical in terms of my commitment to this kind of thing.
I was interested in the ways we can write biography. When you're first starting to write about your own life it feels so shapeless because you don't know how to make your own story cohesive. How do I pluck a story out of the entirety of what it means to be alive. It occurred to me recently that when you're telling a story about your own life, rather than taking a chunk, you're kinda like lifting a thread from a loom.
I feel like if you aren't honest and if you don't let go and ease up off of the narrator, then the story doesn't take up a life of its own, and the characters can't take up a life of their own. You handicap the story when you try to protect your characters.
The actors come in and they make characters their own and so Patrick and I have never been the kind to think that our script is the bible. We want to make sure that the story is told, that you stick to the story but if you have to make changes to the character then that's fine. A lot of times there are some funny one-liners, funny things that happen that are out of the ordinary. I like it.
The story itself, the true story, is the one that the audience members create in their minds, guided and shaped by my text, but then transformed, elucidated, expanded, edited, and clarified by their own experience, their own desires, their own hopes and fears.
For better or worse, I seem to gravitate toward writing about something or someone else, then have my own self shove its way into that story. It seems insanely narcissistic. But I also think there's a particular effect that comes from using my autobiography in service to another story, as opposed to being the subject. I'm much more comfortable working in that mode. And I do think I have a persona or mood that I keep coming back to: self-conscious, self-critical, unsure. I write a lot about bodies, particularly male ones, usually as a point of emphasis for my insecurities about my own.
I think that everything in this life is a story you know; our own narrative, our own history, it's all a story.
A lot of times I don't know if I trust the director to tell that film's story. Or I think it's inappropriate for a male director to tell a female story, or a white director to tell a black story. Everyone walks away from a movie differently, because you're relating it to your own life.
The comic book, and I've said it before, is a treasure trove. It's a grab bag. We certainly have characters and story lines that we really want to do - but to get there in a TV series, you have to take your time. Sometimes you can't get right to it. They're two different mediums. So we make it our own and really own the material. I like to think of it as an alternate universe.
My job is to form the people, the story, the sentences. Every reader will bring their own life and their own history to the story and shape it accordingly. I guess you can say it's like I am sending them a letter.
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