A Quote by Kazuo Ishiguro
I try to always go for something... very interior, following thoughts and memories, something that I think is difficult to do on the screen, which is essentially a third-person medium.
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The only way to achieve something in the interior world is let-go - a kind of effortlessness, a relaxation. It is not a doing; it is nondoing. It is not action; it is inaction. And it seems difficult because everybody from the very beginning is told, `Do something; don`t just go on sitting there! Something is always better than nothing.` In the inner world these are not the laws. Nothing is better than everything.
I think there's a real problem if you're making a film - some people have done whether it be about Jackson Pollock or about Picasso - it's difficult for actors, because they have to impersonate a person whose image is very strong in our memories or in our consciousness. It's something that's very tricky, I think.
Writing for children is my... that's my medium, you know, and the medium is the picture book, which is a very particular kind of book. I try to give children what I would give anybody, you know. I become interested in something. I find something fascinating. It has to fascinate me, and then I want to give it to them.
Inventing is something that has always come very natural to me. As a child, I was always fiddling with things, making contraptions. I'd see something, go home, and try to make something even better.
Well, well-run companies always have a focus on growth and the two lines, which includes profit. The key thing during, I think, tough times, is to make sure that you've covered the basis for when something, you know, essentially things taking longer, bad luck, adversity, other kinds of circumstances may occur. Make sure that you can monitor to win, it's potentially, you know, something is going to go wrong, monitor early enough, and then take appropriate action to essentially counteract that or shift your strategy or plan, even if in fact something is not working out as well as it is.
The reason I've gotten into script-writing, which was accidental to begin with, was that I found it was a far more effective medium for violence. Which is something that I'd always written in songs, but the violence always sat strangely within a song. And I was always interested in the way in which you listen to murder ballads and things like that - these weird lines would kind of come out, like, I drug her by the hair or something - that sat weirdly in the song. Film seems to be a medium designed for betrayal and violence.
I'm always thinking about something new, something cool that we can do to make our fans happy! These thoughts, and efforts to make those thoughts come true, really help me grow as a person.
I think that happiness is a great thing to strive for, but very difficult to maintain - people are always striving for something different, and something better.
For me, it's always more difficult and slightly exposing to play something that's close to yourself. I always like to try to hide, just because I can't stand the way I look. But, I think it's important to change every time and come up with something that's as interesting as it can be, for your characters.
I've always been really selective. I just didn't have the right to be as selective in other years, I guess. It's very difficult to commit so much of your life to go shoot something that you think sucks, so I'd rather do nothing than go work on something that I really hate. Obviously, there are moments where you have to take jobs for money, everybody needs to pay their rent or whatever.
I think that people are really hungry for original content. I think there's a sense of reboots and remakes, and we're lacking in any sense of originality in media. So, I think the people who want something like this which has a graphic novel feel or comic book feel but that is designed and created for the medium of television, I think that is something is very appealing to a lot of people.
One of the things that is always difficult about a collaboration is that you don't necessarily find the same thing funny. And so the challenge becomes, how do you tell the other person that you don't think something's funny? The best collaborations tend to be when you are willing to be told that. But there's also ego involved, and so there's a lot of frustration in knowing that you're writing something, and the other person, on some level, needs to think that it's funny.
I'm generally a very annoyingly positive person, in real life. I think that might have something to do with my gravitation towards angry human beings on screen.
First Thoughts are the everyday thoughts. Everyone has those. Second Thoughts are the thoughts you think about the way you think. People who enjoy thinking have those. Third Thoughts are thoughts that watch the world and think all by themselves. They’re rare, and often troublesome. Listening to them is part of witchcraft.
My goal is to always try to make you feel something, whether that's humor or sadness or excitement, and to try to manipulate screen space.
But for me it's very difficult to finish music on my own. It's the fear of losing the fun. It's very easy to get a sketch of something or an idea together in a very short time, to try out something new, but to get a five minute track to play out is much harder, at least for me. When I start to construct something, it often ends in frustration.
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