A Quote by Mark Duplass
When you're writing a 25-minute episode that can be anything, sometimes you just start with a character, and you let them walk into the room. Then you let your instinct guide you. That's how we made art when we were 15 years old. And that's so fun to us.
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I just think if you're 44 years old and you're not smarter than you were when you were 35 years old or 25 years old, just stay in your room.
The one thing about me, if it is a 15-minute fight, I'm fighting every one of them 15 minutes. And if it's a 25-minute fight, I'll be fighting all 25 until the bell rings.
And last, my mom. I don’t think you know what you did. You had my brother when you were 18 years old. Three years later, I came out. The odds were stacked against us. Single parent with two boys by the time you were 21 years old. Everybody told us we weren’t supposed to be here. We went from apartment to apartment by ourselves. One of the best memories I had was when we moved into our first apartment, no bed, no furniture and we just sat in the living room and just hugged each other. We thought we made it.
Nearly all literature, in one sense, is made up of guide-books. Old ones tell us the ways our fathers went, through the thoroughfares and courts of old; but how few of those former places can their posterity trace, amid avenues of modern erections; to how few is the old guide-book now a clew! Every age makes its own guide-books, and the old ones are used for waste paper.
The corporate outings were fun, but after doing them for 25 years, they got to be a little old hat.
I was fighting at 125 pounds when I was 15 years old... then became a champion at 126 pounds at 25 years old.
We do want the freedom to move scenes from episode to episode to episode. And we do want the freedom to move writing from episode to episode to episode, because as it starts to come in and as you start to look at it as a five-hour movie just like you would in a two-hour movie, move a scene from the first 30 minutes to maybe 50 minutes in. In a streaming series, you would now be in a different episode. It's so complicated, and we're so still using the rules that were built for episodic television that we're really trying to figure it out.
For the third season, we do a sit around on one episode where we were in character and then we commented on one episode just being ourselves, so - not really. I was comfortable, though. I wasn't nervous.
I just really want to be able to walk into a karaoke bar when I'm like 50 years old, do my own song, and then walk out. I think that would be really fun.
Sometimes everything you need to know to be an actor in your mid-forties, you learn before you were 15 years old.
Every GM will tell you it's an instinct. It's an instinct to be patient, to react, or act, or not to do anything at all. It just comes. What I can say is you must have a plan and a goal and a way to do things. At the end of the day, it's an instinct. Sometimes it's good. Sometimes it's bad.
Erudite and entertaining, Max Anderson is the perfect tour guide to the world of art. The Quality Instinct is both educational and enlightening from start to finish, the thinking person's guide to museums. This is a must-read for anyone who wants to truly understand what makes a masterpiece.
Journalism taught me how to write a sentence that would make someone want to read the next one. You are trained to get rid of anything nonessential. You go in, you start writing your article, assuming a person's going to stop reading the minute you give them a reason. So the trick is: don't give them one.
I first fell in love with music when I was five years old because of 'Annie.' And then 'The Little Mermaid' really made me want to start singing. And then the fierce, amazing women of the '90s - Alanis Morrissette, Courtney Love, Tori Amos, Ani Difranco, Paula Cole, Patty Griffin - made me want to start writing.
Most of the time, when I'm writing, I'm writing for myself. I'm thinking, 'What will my character say at this time? What will come out of her mouth?' I create individuals so real to me, I sometimes start talking to them. Then I let them loose on the page.
The key to writing for Richard (Pryor) was to just push his buttons and then know when to push the buttons on your cassette recorder. You'd get him started, then surreptitiously start recording when he got inspired and started walking around the room and improvising in character. Then you'd get it all transcribed and take credit for it.
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