To become a WRITER I had to learn to INTERRUPT, to speak up, to speak a little louder, and then LOUDER, and then to just speak in my own voice which is NOT LOUD AT ALL.
The ability to walk in someone else's shoes, or in my case, play down in someone else's cleats is one of the very best things you can do. There's nobody in this world who doesn't have that voice in their head. Sometimes it's the best voice in the world, and it pumps you up, but sometimes the voice is down. I wanted my players to be able to hear my voice in their head instead of someone else's because I knew that was a narrative I could control.
Speak louder than the words before you, and give them meaning no one else has found. The role we play is so important.
I'm always wondering what else I could be doing. It never feels enough to just use my platform. I'm happy to give a voice to people who may not be heard half as much, but I'm always wondering what else I could be doing, since my position almost requires me to do more. And I want to do more.
When I was doing something on someone else's dime, I was inclined to try to anticipate what they wanted. I knew that wasn't what an artist was supposed to do. In funding my own music, I found my voice.
I would never tell someone else how to use their platform, because I think I'm much more comfortable allowing the work that I do to speak for itself.
There are times when the voice of repining is completely drowned out by various louder voices: the voice of government, the voice of taste, the voice of celebrity, the voice of the real world, the voice of fear and force, the voice of gossip.
But you're almost eighteen. You're old enough. Everyone else is doing it. And next year someone is going to say to someone else 'but you're only sixteen, everyone else is doing it' Or one day someone will tell your daughter that she's only thirteen and everyone else is doing it. I don't want to do it because everyone else is doing it.
Let's say [Warren Beatty] wants you to speak louder in a scene. He won't stop playing the role and say to you as a director, "Will you speak louder on the next take?" He'll say it as Howard Hughes: "I can't totally hear you. Why don't you speak up a little bit?" To kind of keep this rhythm going.
I found them uncomfortable and after that I decided to continue running barefoot because I found it more comfortable. I felt more in touch with what was happening - I could actually feel the track.
I think now that I've tried directing, I'm not interested in doing adaptations anymore. I could do an adaptation of someone else's work that I would write, but the idea of taking someone else's material entirely doesn't interest me. One of the things that I found really helpful, at least in my mind - and I've never discussed this with the actors or with the people I work with - is that being a neophyte in directing, I feel like I have a kind of authority simply because I'm the writer as well.
The crying sounded even louder out of doors. It was as if all the pain in the world had found a voice
The voice is not only indicative of man's character, but it is the expression of his spirit. Other sounds can be louder than the voice, but no sound can be more living.
In Zen, actions speak louder than words. Doing is more important than knowing, and knowledge which cannot be translated into action is of little worth.
Are they dead that yet speak louder than we can speak, and a more universal language? Are they dead that yet act? Are they dead that yet move upon society and inspire the people with nobler motives and more heroic patriotism?
I think the problem for the future generations is a lot of people ain't takin' the time to look for galvanizing artists and give them their voice, so therefore for their voice to be heard, they gotta bang more pots on the ceiling, so to speak; they gotta do crazy things just to get recognized. I just feel that whenever you don't give a generation some kind of voice, then expect side effects.