A Quote by Lena Waithe
There's something specific about Chicagoans, and I just felt like I'd love to tell their story in a creative way. Not in a way to go, 'Oh, Chicago's perfect.' I don't believe that. I don't think that. I know we have our issues.
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I know if I told you what God looked like and felt like then I'd be telling you a story. I just think we don't know. God manifests himself, herself or itself in a way that we need it, in a way that we can grab a hold of and a way that we can put our arms around.
I do think the challenge, in a way for me, is to write a narrative film and when you finish watching it you feel like it's a collage. You tell the narrative, you tell the story, but you feel like you've created this tapestry. But it also has a shape, a story. So I think there's a middle ground that I try to strike... away from where everyone else seems ready to go, which is, setup, payoff. You know, He's afraid of water, oh, and at the end he's swimming in water - oh, my God. I hate that stuff.
I think the way I love talking about my faith is through my story because I think that's all we have to work with sometimes. I think it's the most moving way to share your story, too - is what you know, what you've seen and heard and tasted and felt.
I am waiting for the right story to tell. Just like 'Man of Tai Chi' just seemed to be the right story to tell. So I'm looking for that. Because I really love directing. I love developing the story. I love actors. I love the cinema of it, the way that you tell a story visually.
Now I don't want to take roles just for money. It's like trying on the right dress. When you go shopping for a dress, you can try to make something work 'cause you can't find the right one, but you always have that memory of the time you put on the perfect dress and you were like, "Oh, my god, I love myself in this dress! I'm excited to go out and have people see me in this!" That's the way that I'm looking at the roles that I want to do. I'm not looking for anything specific, except for something that has heart, and that I will enjoy doing that feeds my soul.
You'll also hear about the widening gap in the educated and the uneducated. The liberals will all say, "We must do something about it" and some in our population swoon, "Oh, yes, it's so unfair, and so unfortunate, and we've gotta do something about the inequality." So the Democrats then have their reason to do something about it, and the way they go about it is not trying to make people equal at all. The way they go about it is not even rooted in changing inequality, at the end of the day. The way they go about it is destructive for everybody.
I believe in the complexity of the human story, and that there's no way you can tell that story in one way and say, 'this is it.' Always there will be someone who can tell it differently depending on where they are standing ... this is the way I think the world's stories should be told: from many different perspectives.
Looking back, I do think one of the reasons 'Thirteen Reasons Why' has been so successful is not because it deals with serious issues but because I had a unique and interesting way to tell that story. I knew the issues were going to be dealt with in the book, but I felt my job was to write the story as entertainingly as possible.
You could perhaps better tell the story of a place by writing of a tiny village as a sort of prism into the bigger issues the culture was facing. It struck me as a better way to learn about a place, or at least a different way, than just going to interview the president. So I have often tried to tell the story of a place through people there. But I'm just amazed.
For all the things that make Chicago great, for all the things that make us proud to call ourselves Chicagoans, the violence that is happening corrodes our core. It is not the Chicago we know and love.
I think because it is a very well-saturated story,episode of Justified in Hannibal, and we've all heard it in some frame of a story, we've heard the urban legend of waking up in a bathtub with a kidney missing. It felt like if we are telling an organ-harvesting story, it was really about quickly selling the iconography of an organ-harvesting story, and then being able to mask that as a perfect way for Hannibal Lecter to go shopping for his menu.
It's all about this abstract entity called the story. It's all about the best way to tell the story, and to make a movie about the issues that this story is about. Filmmaking is storytelling, for me.
I hope that my lyrics have a way that they're so specific they become universal, and they go, 'Oh I've been there, I know what that's like.'
One of the things that I love when I go to a film or when I'm reading some book or whatever, is to be told a secret I thought only I knew and then someone says, "Oh my gosh, you know, too." And film can take us into private moments in a way that the theater, I think, kind of can't, and that's one of the reasons I like doing films. And the way a book can is that these little secrets and the private things that go on in our minds that maybe we haven't shared with anyone, and then someone writes it or shows it to you in a film, you think, "Oh, that's me. Oh my God, that's me, I have that secret."
I might tell a story about somebody else, but I don't sit there and do a story about somebody snitching on me selling coke because people know I didn't sell coke. So I just try to keep it real but still try to do it in a creative way.
A story is a way to say something that can't be said any other way, and it takes every word in the story to say what the meaning is. You tell a story because a statement would be inadequate. When anybody asks what a story is about, the only proper thing is to tell them to read the story. The meaning of fiction is not abstract meaning but experienced meaning.
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