A Quote by Kehlani
My brain kind of works in steps. I have to go through things and then process them and then write about them. I have to understand them first.
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I tend to write things seven times before I show them to my editor. I write them seven times, then I take them on tour, read them like a dozen times on tour, then go back to the room and rewrite, read and rewrite... I would never show him a first draft, because then he's really going to be sick of it by the twelfth draft.
...you'll find that being a friend is to like a person for who they are, even the parts you don't understand. You don't have to understand, or do the same, or live their lives for them. If you truly care for them, then you want them to be who they are; that was why you liked them in the first place.
We've done things that are faster at times, but it's definitely different when we direct all the episodes because it's like we have to write them all, then shoot them all, then edit them all. So we have to just get ahead on those scripts basically.
Writing about my life was a 13-year process where I had to face my demons as I wrote and take the time to understand them, then defeat them.
My stories take three or four months to fix, and it's not magical of a process. Ultimately it's a boring, difficult process. I write everything out, and then the parts I think are funny I put in bold. Then I go perform it. Then the parts that aren't funny, I unbold them.
There are things that have to be done and you do them and you don't talk about them. You don't try to justify them. They can't be justified. You just do them. Then you forget them.
The kind of loving women and men have in them and the ways it comes out from them makes for them the bottom nature in them, gives to them their kind of thinking, makes the character they have all their living in them, makes them then their kind of women and men and there are always many millions made of each kind of them.
If you have to conduct layoffs, which is always a regrettable thing, there's kind of three things that are very important. One is to communicate well with your employees in order to help them understand why it is you're doing, and how. Second is to make sure that the employees who are part of the go forward, understand kind of what happened and are not like the ground doesn't keep moving. It's like, okay, we did that, we're moving forward, here we go. And then for the employees that you unfortunately have to let go, try to provide as much support for them as possible.
When it comes to heartbreaks and disappointments, I often have to be more or less done with them to be able to write about them. Then you might ask why I would write about them at all, but I think I owe it to the Jens of the past.
You've got to be committed. It comes down to setting yourself goals as an individual. In rugby you have team goals that you strive for, but you also set yourself simple goals that are achievable. It helps to write them down so you understand what you need to do, and what your focus is. Put them on your wall, then each time you wake up, you'll see them. Then you can just tick them off once you've achieved them.
For the first few years I wrote jokes and performed them word for word and then wrote tags for them and did that word for word and that worked pretty well. Now, I do almost all of my writing on stage and then record and listen for any new things and then I write those down.
I still go to a party and say something embarrassing to someone, and then write them a weird e-mail about it the next day, and then write them a text because I think they didn't get the e-mail. No matter what happens with your level of success, you still have to deal with all the baggage that is yourself.
I go through a whole process with the actors first, building and creating characters, then I encourage them to sort of live in that character when they're in the screen.
A lot of college graduates approach me about becoming screenwriters. I tell them, 'Do not become a screenwriter, become a journalist,' because journalists go into worlds that are not their own. Kids who go to Hollywood write coming-of-age stories for their first scripts, about what happened to them when they were sixteen. Then they write the summer camp script. At the age of twenty-three they haven't produced anything, and that's the end of the career.
I didn't learn how to read and write until pretty late, and it was this very mysterious, incredible thing, like driving, that I didn't get to do. And then I started writing things down on little scraps of paper and I would hide them. I would write the year on them and then I would stuff them in a drawer somewhere. But I didn't start to really read until about eight. I'm dyslexic, so it took a long time.
'Writing' is the wrong way to describe what happens to words in a movie. First, you put down words. Then you rehearse them with actors. Then you shoot the words. Then you edit them. You cut a lot of them, you fudge them, you make up new ones in voice-over. Then you cut it and throw it all away.
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