A Quote by Mary J. Miller
I try to think as little as possible, at least while working. I look at some of my early stories and can see the machination behind them, like a gear slowly moving. For example, sticking a dead father into the story to explain a character's sadness and bad decisions, or trying to impress myself with my own cleverness.
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You don't need a dead father to explain a character's sadness. And impressing yourself with wit/cleverness often feels like what it is - authorial intrusion.
I really try to divorce myself from any thought of possible use of this stuff. That's part of the discipline. My only purpose while I'm working is to try to make interesting photographs, and what to do with them is another act - an alter consideration. Certainly while I'm working, I want them to be as useless as possible.
I've played people that are on the line of evil and good, but that's life. We are always playing with the good and the bad. I see them as people. I don't see them as caricatures. I try to not make them caricatures. Maybe I fail, but I try to see what' behind them. Would I play the hero? A superhero? I don't think so. But, I play good guys. There are some there, but you have to look.
I try to get myself up and moving as early as possible. Optimum is to be on the treadmill while it is still dark outside.
Although I use myself in my videos, I really see myself as a character. When I look at myself, when I sit and edit, I never think, "That's me." I think, "This is a character, and how do I edit this to tell a story?"
Character is too deep to catch in a single storyline. What really moves us - what makes the great stories, and there aren't so many of them - is the inevitability of character. The destiny. All we see is the arc. We'll never penetrate the secrets of the living, let alone the dead. I've spent my whole life trying to understand people, and all I've learned is that the deeper we look, the greater the mystery. At the core, each person is unknowable. Maybe that's the soul? I have to respect that. The mystery, in fact, is what I've loved the most, in people and in stories as well.
If you're trying to impress a girl, go with something that doesn't look like you're trying to impress, but you should still make an effort. It goes back to what you're comfortable with. Look like you're there with interest.
My own theory is that people are just so desperate for somebody they can feel better than, in America. Now that everyone's going broke and working 17 jobs - if they have one at all - at least they can look at these guys behind bars and think, "At least I get to wear my own clothes to work."
little sun little moon little dog and a little to eat and a little to love and a little to live for in a little room filled with little mice who gnaw and dance and run while I sleep waiting for a little death in the middle of a little morning in a little city in a little state my little mother dead my little father dead in a little cemetery somewhere. I have only a little time to tell you this: watch out for little death when he comes running but like all the billions of little deaths it will finally mean nothing and everything: all your little tears burning like the dove, wasted.
If we're honest, most of us would accept that a bad boss is a little bit like a bad father or a bad husband ... you find that he tends to do more good than harm. He might be a bad boss but at least he's employing someone while he is in fact a boss.
I love when you take bizarre, non-human things and somehow make them human or accessible. I think that's why I like the practical effects. You can look at a creature and still see vulnerability or the character behind the creature. To get character behind CG creatures, that's so few and far between.
I think the reason the stories are briskly paced, when they are, is that I like story. I like stories where things happen and there are surprises and reversals, in addition to vivid characters and a memorable voice. So those are the kinds of stories I try to write. And it turns out that's pretty much the only kind of writing that works for TV. It's a medium that just devours story, demands surprises and reversals. So my sensibility is suited to TV storytelling, at least as we think of it today.
I don't feel pride like that with my own stuff. When I listen to my own music I'm happy with it, but when for example, I hear the beginning of "Last Stand" and I hear Kwabs sing the first line that I helped to write, I just think, wow. I can't believe I was involved in that. I can't even explain what it was like being in that room while we made that. That was really some magic.
I think as parents you want to at least try to provide a good example to your kids. So yeah, I feel like a complete hypocrite if I'm telling my son to try new things and not be afraid and I'm shying away from doing a dancing show for Pete's sake. On some level, you're at least being a good example for your kids.
'Guild Wars 2' is a wider world in that we have a lot of different mechanics available for storytelling. We have our personal story, the story of you, which is tailored for your character. You answer some basic questions; you make some decisions early on, and that follows through.
It is so much easier to deal with the dead than with the living. The dead are out of the way, merely characters from stories about the past, never again unreadable, no misunderstandings possible, the pain coming from them stable and manageable. nor do you have to explain yourself to them, to justify the fact of your life.
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