A Quote by Michael McKean

To direct a sequel to somebody else's work is not interesting to me. — © Michael McKean
To direct a sequel to somebody else's work is not interesting to me.
Art is interesting because there can be so many different perspectives in a piece of art. The way I see it may be completely different than the way somebody else sees it. It's interesting to hear what somebody sees in a piece of art compared to somebody else. It could be completely different, and that's interesting to me.
I'm able to lead my life as well as make a film. My wife and my friends and people around me know that I do tend to distance myself a little bit during the making of a film, but I have to, it's a natural part of the process for me because you are indulging in the headspace of somebody else, you are investing in the psychology of somebody else and you are becoming somebody else, and so there isn't enough room for you and that somebody else.
I've always liked playing with somebody else and collaborating, just to get out of my own head all the time. Everybody does, but artists especially, we torture ourselves. So it's good for me to immerse myself in somebody else's work.
I think my first general rule is that most of my experiences are not that interesting. It's usually other people's experiences. It's not that entirely conscious. Somebody tells me a story or, you know, repeats an anecdote that somebody else told them and I just feel like I have to write it down so I don't forget - that means for me, something made it fiction-worthy. Interesting things never happen to me, so maybe two or three times when they do, I have to use them, so I write them down.
I always panic on the first day of work. You can do all the Stanislavsky-backstory homework, but when that moment arrives and you are in the clothes, hair, and makeup of somebody else, and you're saying the words created by somebody else - I never know how to do it. It's a complete mystery to me.
It was interesting doing impressions as somebody else doing impressions. Normally, I'll do a voice, and it's me doing the voice. To have to be Robin Williams doing the voice was an interesting sort of study in getting into somebody's head.
I can't imagine bringing in somebody else to direct my show. Wouldn't that be funny, if next season I had, like, Michael Bay come in and direct 'Better Things'? I wonder what that would be like?
I said yes too much. I said yes to certain projects that weren't for me. It was somebody else's vision and somebody else's dream and somebody else's artistic endeavor, but it didn't necessarily fit in my grand scheme.
You're thinking about the physical consequences about what you're writing if you're going to direct it. If you're not going to direct it, then it's somebody else's problem, and they'll solve it.
We must stop this incessant victimhood mentality. Somebody else will not fix things. Somebody else will not make me healthy. Somebody else will not make me happy. These things are my responsibility. Not the neighbor’s, not the government’s, not the church or the civic club.
The most rewarding possible thing that a songwriter or an artist of any kind can experience is to hear firsthand from the mouth of somebody else that they don't know the weight or gravity or intensity that something they've made has brought out in somebody else's life. It's simultaneously flattering and humbling. It makes me so thankful that I've been so lucky to be able to do this work.
Activism, to me, I don't know if it really works. It may work for somebody else, but it does not work for me.
I've always felt that God, himself, has chosen me for his purpose, for higher callings whether it's to be an inspiration to somebody else's life, whether it's to change somebody else's life, or whether it's to be that support or light in somebody else's life.
I honestly never wanted to direct. It was only when I started to work on 'Alexander the Great' that I realized I had to direct. I saw something so specifically in my mind, I could not leave it to someone else.
I tend to like strong female characters. It just interests me dramatically. A strong male character isn't interesting because it has been done and it's so cliched. A weak male character is interesting: somebody else hasn't done it a hundred times. A strong female character is still interesting to me because it hasn't been done all that much, finding the balance of femininity and strength. [From a 1986 Fangoria interview]
I think when you're in the middle of a piece of work, there are things that bleed over into your life. You're spending a large portion of your day pretending to be somebody else, to tell somebody else's story.
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