I think plot is very overrated. Plot is obviously necessary, but what I really care about is emotionally affecting the audience. Having a thought myself and then an emotional experience myself, somehow transferring that to the audience.
I prefer that for my own satisfaction over radio, there's no audience. TV, there's no audience. I need the response of the audience, even if it's a silent response.
My outlines can be 10-20 pages in length and focus primarily on the physical active plot over the emotional plot.
Jack, get a grip of yourself.' I have a grip of myself.' Jack took a grip of himself. It was a most intimate grip; not the kind of grip that you usually take of yourself in public.
If I were a man, I'd be allowed to play roles that were compelling and drove an audience to an emotional response.
Which implies that the real issue in art is the audience's response. Now I claim that when I make things, I don't care about the audience's response, I'm making them for myself. But I'm making them for myself as audience, because I want to wake myself up.
Film is such a very good tool for communicating emotions, and all designers and creative people look to inspire an emotional response.
In America, instead of making the audience come to the film, the idea seems to be for you to go to the audience. They come up with the demographics for the film and then the film is made and sold strictly to that audience.
Of course, you have to think of the audience. You cannot make an obtuse film that only appeals to a small niche section of the audience.
It takes 90 seconds from the time we have a thought that is going to stimulate an emotional response. When we have an emotional response it results in a physiological dumpage into our bloodstream. It flushes through and out of our body in less than 90 seconds.
You don't have that interaction with the audience when you're acting for film; you're kind of acting in a vacuum. You're acting for a disinterested grip who just wants to reply to his wife about what time he'll be home for dinner. Everyone else on a film set is also there because they're paid to be there. They're not there because they're passionate about what you do necessarily.
I wanted to make a film that was sophisticated and emotional, but for a wider audience.
Some psychologists argue that the idea of God is a response to our emotional needs, but this presumption is backwards. Our emotional fluctuations are a psychological response to our lack of love for God. If God is everything, what else could we possibily want?
Chris Claremont once said of Alan Moore, "if he could plot, we'd all have to get together and kill him." Which utterly misses the most compelling part of Alan's writing, the way he develops and expresses ideas and character. Plot does not define story. Plot is the framework within which ideas are explored and personalities and relationships are unfolded.
When you tell people, your world changes, your identity changes and people treat you differently. And then, not only do you have to deal with your own emotional response to what's going on, but you take on everybody else's emotional response.
The thing with me is, I'm both untidy and I hate mess. But I'm not untidy in communal spaces, like living rooms. My bedroom is havoc.