A Quote by Mark McKinnon
It's just madness. First email. Then instant message. Then MySpace. Then Facebook. Then LinkedIn. Then Twitter. It's not enough anymore to 'Just do it.' Now we have to tell everyone we are doing it, when we are doing it, where we are doing it and why we are doing it.
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In collage you're doing it in stages so you're not actually doing it right there. You first of all draw it on the paper, then you cut it up, then you paste it down, then you change it, then you shove it about, then you may paint bits of it over, so actually you're not making the picture there and then, you're making it through a process, so it's not so spontaneous.
I haven't sworn off Facebook. I'm on Facebook. There's a fan page on Facebook that I will update, but I'm on there myself under a pseudonym, because there were a lot of people able to private-message me on Facebook, and it was getting really weird. And then with MySpace, I just don't read messages. I delete everything, and I just post updates every now and then.
I was doing Facebook comedy videos; then I moved over to Instagram, and then I hopped on Twitter. That is where I really was a master. That was the first place where I could go viral.
I come from the theatre where there are no boundaries to the style you're doing; you're doing Molière, then you're doing Chekhov and then you're doing Arthur Miller in a season and no-one bats an eye.
I just think I started off like many composers, just in different fields of music I was doing. I started doing a lot of commercials and jingles, and then that led to doing TV and then films and games and TV.
Higher calling matters. When you care so deeply about the why-why you're doing what you're doing-then and only then are you operating in a way that allows you to overcome the obstacles.
We survived for hundreds of years under the old banking structure. You'd have clearing banks, then merchant banks doing the racy stuff, and then building societies where you'd join a waiting list for a mortgage. But then banks started buying stockbrokers, doing mortgages, and you ended up with these big banking groups doing everything.
Before doing 'Darkplace' in 2003, I was temping and at call centres, and that was pretty bad. Then I was at the London Dungeon, which I loved doing, and then from that, I was on Channel 4 doing 'Darkplace.'
I started working as a kid doing dubbing, and then I started doing television when I was 11 or 12, and then movies, and I worked mostly in French, and then I started working in English, and then I moved to New York. So I think I managed to find a way to always make it a challenge for myself.
Yeah, but if you're not doing what everyone else is doing then you're going to be misunderstood. People are going to wonder why you're trying to be different; it's just a natural instinct.
Government cannot do everything, so we need to first decide what government ought to be doing, then figure out what it's capable of doing, and then follow the jobs we choose to completion.
I have been doing this for a long ,and it is the players who learn who you need to work with. You have to coach them to think and understand the game. If they cannot, then you have to tell them, 'You have to do this anyway,' but the best thing to do is say, 'Listen, if he is doing this, then maybe you have to do that.'
I just turned 40, and it's weird to think that I've been doing this almost my whole life. I was a child actor and then didn't do it through junior high and high school, then started up again in my late teens doing 'Young and the Restless.' Dabbled with school, went back to college, played around. I think I was doing Pleasantville at 23.
I was a painter, then a novelist, then a journalist, then a screenwriter, and now I'm a director, and it feels all part of the same continuum. One led to the other, and it just feels like the natural confluence of all the ways of storytelling that I've been doing for almost 30 years.
And the whole Oscar thing, that is just surreal: you spend months and months doing promotion, and then come back to reality with this golden thing in your hands. You put it in the office and then you just have to look at it sitting on the shelf. And, after about two weeks, you go: 'What is that doing there?'
If you know why someone is doing what they're doing, why they're behaving the way they are, then that's your job to reveal that, and often that's situational. The storytelling does that, and then some of it's your job as an actor to make that subtext come to life.
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