A Quote by Miguel Ferrer
People ask me all the time how I prepare and, to tell you the truth, I think if what's on the page is rich and compelling, as far as I'm concerned, if it's beautifully presented on the page, all you have to do is put yourself there and pretend, and the rest takes care of itself. That is, unless it's a real stretch with an accent or if history matters where research has to be done.
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I'm usually more concerned with how things sound than how they look on the page. Some people write for the page, and that's a whole other thing. I'm going for what it sounds like right away, so it may not even look good on the page.
You are wrong if you think that you can in any way take the vision and tame it to the page. The page is jealous and tyrannical; the page is made of time and matter; the page always wins.
They ask how the universe is arranged, philosophers, mathematicians, and they draw pretty pictures, impossibilities on the page. They save phenomena by telling one ugly lie after another, epicycles upon epicycles, and the fools care not. It is not enough, I tell you, to ask how the cosmos is designed. We must ask why.
If it bothers me on the page, I don't do it. If it attracts me on the page and moves me, makes me think a bit, makes me laugh, makes me cry, I'm interested in it. If it's there on the page, it means it's there and up to me to bring it out. I have done some films along the way that have been screwed up and not as good as they read. Some films that are not that good on the page turn into good movies. So I'm fallible is what I'm saying.
I want to wake up one morning and know how to write page one, or page 10, or page 250. But I never seem to know how to do it. Every book is different and takes a different structure, style, process, etc. And relearning how to write is where the insanity comes from.
When you're writing TV or movies your vernacular is time, it's all based on rhythms, a character takes a beat or two characters have a moment, like everything is about time. And when you're writing a comic, everything is about space. It's how many panels to put on a page, when should you do a full page splash, what is the detail that you see in any particular image.
When I was writing the memoir, every page was a battle with myself because I knew I had to tell the truth. That's what the memoir form demands. I also had to figure out how much of the truth do I tell, how do I make the truth as balanced as I possibly can? How do I make these people as complicated and as human and as unique and as multifaceted as I possibly can? For me, that was the way I attempted to counteract some of that criticism.
I think the best research is people you meet and things that they say, rather than second hand accounts of something. I think when you meet someone and talk to them, then you get the real thing and that's what you can use. That's the material you can actually put on the page.
A lot of actors look at scripts and think, 'How will this stretch me as an actor?' But I always thought, 'Do I want to turn the page? Is this going to make people laugh?'
I also learned to tell a story. I think I learned from poetry how to time a story. Poetry's timing, beats and pauses. That white space on the page is as important as the black. The bottom of the page is blackout. It's performance.
For personal reasons, I do not browse the web from my computer. (I also have not net connection much of the time.) To look at page I send mail to a demon which runs wget and mails the page back to me. It is very efficient use of my time, but it is slow in real time.
Love is easy! Kindness is easy. So I try on my Twitter page to acknowledge everyone that reaches out to me. I try to make my page - I can't control the rest of Twitter - but I try to make my page a safe place for people.
Yes, the fear of its blankness. At the same time, I kind of loved it. Mallarmé was trying to make the page a blank page. But if you're going to make the page a blank page, it's not just the absence of something, it has to become something else. It has to be material, it has to be this thing. I wanted to turn a page into a thing.
I cannot tell you ... how to be rich. But I can tell you how to feel rich, which is far better, let me tell you firsthand, than being rich. Be grateful... It is the only totally reliable get rich quick scheme.
The art of fiction is one of constant seduction. You must persuade the reader on page 1 to start reading - on page 50, or page 150 and yes, on page 850.
As long as my face is on page one, I don't care what they say about me on page seventeen.
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