A Quote by Michael Loceff
As far as how important the real-life resonance of the stories is, I think it must play at least a small role in the show's success, because it gives the show this sense of suspense from the fact that it seems at least plausible.
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Well, I think tone is very important with this show [Masters of Sex] because there are certain elements or certain aspects to the show that may be reminiscent of other shows. But, it really is a very new kind of show, in terms of the subject matter and the way it's being dealt with, and the fact that it's about real people and real events.
You look at science (or at least talk of it) as some sort of demoralising invention of man, something apart from real life, and which must be cautiously guarded and kept separate from everyday existence. But science and everyday life cannot and should not be separated. Science, for me, gives a partial explanation for life. In so far as it goes, it is based on fact, experience and experiment.
I think indie films are really important, because they show the studios and the audiences when they see them, great stories. Really interesting, small stories.
I spent a year storyboarding and writing on a show called 'The Marvelous Misadventures of Flapjack' for Cartoon Network, which really taught me how to run a show. Or at least the idea of running a show.
'Freaks and Geeks' was my favorite show when it was on, by a wide measure. And that's the show I wanted to do. I noodled with the idea of doing a show about teenagers that told small stories, small moments of personal growth.
In fact, the element of play has an important role in my life, and I think that should be the case in the life of every artist. Our life is occupied with playing, whether we play an instrument or a role.
In horror stories or in fairy tales, the fascination with the morbid is also, at least for me, a way to prepare for the unthinkable… That’s why it’s very important for me to show the artificiality of it all, because the real horrors of the world are unmatchable, and they’re too profound. It’s much easier to absorb – to be entertained by it, but also to let it affect you psychologically – if it’s done in a fake, humorous, artificial way.
If one sibling does something, the other will fill the opposite role. I found, at least for my brother and I in real life, that seems to be a thing.
Strong style is a philosophy for Japanese wrestling fans that was created by New Japan Pro Wrestling founder Antonio Inoki. He wanted you to show every motion and show real technique in the ring. It's important to use real techniques from real life and real martial arts. The detail is important.
I think a lot of the reason people are attracted to the Keystone pipeline is because at least we're doing something. There's a fear that society will collapse if it's not acting. To contrast those actions with other actions is important in making it feel plausible. Maybe we must have the size of the dream meet the size of the threat.
I think the reason why 'Star Trek' works so well was its small family feeling. The show felt small, you could see the mistakes, you could see rocks weren't rocks. You caught them at it all the time, but you didn't care because you were so hooked to the people and to the stories. It was a fabulous show.
Lucifer has a sense of fun about life; he just likes to play with people. But the sense of humor of the show is what makes the show entertaining as opposed to dark.
[With depression] you get a real sense of shame, because your friends go, 'Oh come on, show me the lump, show me the x-rays,' and of course you've got nothing to show.
If I seem detached or distant, it's because I think this is a more exact reproduction of life, where you hide as much as you show. When I see a scene in which feelings get loudly exteriorized, I say to myself, 'Well, at least this never happens to me.' I very rarely go through this type of expression. Most of the time things are hidden or at least much more subdued.
I think the success of a talk show depends on how true it is to the personality of the person hosting it. The shows I really admire, like 'Oprah' and 'Ellen,' are distinctively like their hosts, so I think my show will be successful only if we try to stay consistent to my own sense of myself.
I think we need to have stories about women that don't necessarily fit the trope of the classic woman, because they do exist. We have to show real life on TV and film. And we don't. We only see maybe 5 percent of what real people are really like. I mean, movies set in Los Angeles that don't have any minorities in them - how does that happen?
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