A Quote by Mike White

My impulse is to create an aesthetic that's about a humanistic approach to a world and trying to create compassion for all the characters. — © Mike White
My impulse is to create an aesthetic that's about a humanistic approach to a world and trying to create compassion for all the characters.
When we make films - even 2D films - you're always trying to create this illusion of 3D, anyway. You're trying to create a believable world with characters walking, in and out of the perspective, to create the illusion that there's a world. The desire and drive to create this illusion of three-dimensional space is something that is true about every kind of film because you want the audience to really be experiencing it, first hand. It's a natural extension of the storytelling and the process of filmmaking.
I always felt there was a kind of humanistic impulse in my thinking about film as well as a real interest in its formal and aesthetic properties - just this idea that it can bring you into a very intimate encounter with people.
I create music; I create painting; I create whatever I want to create. I create, what you say, clothes. I create, I don't know, dance move. I create anything.
Once you get into a feature, whether it's a sequel or an original one, you have to start all over again, and you're creating a world, creating new characters. You're also tracking emotions. You're trying to create emotion and create a character that you can fall in love with for two hours.
I'm not trying to create an aesthetic that's my own; I'm trying to create a way understanding things through drawing and painting. That's the common thread. Things can look different, but that's not what's important. What's important is the process is the same, the ideas are the same, I'm using the same building blocks, but they're different. The larger framework is the same; it's the pieces that change. For me, it's about these different elements, but you're still fitting them together into sentences, words, paragraphs, and stories.
I'm not a teacher; I'm not a historian. I'm trying to create a world for my characters.
I'm not trying to create a stand-in or avatar with whom the reader can identify, but separate, believable characters with distinct personalities; I'm trying to place the reader more in the role of observer rather than that of participant. I think this approach comes out of my own personal desire and struggle to understand our world, and the complex interactions of people with one another and their environment. My work is an improvised exploration of this complexity, as opposed to a structured, plot-driven narrative.
I do not create a fashionable aesthetic... I create a style based on life.
I think terrorists are trying to create instability in Turkey. They're trying to break Turkey apart from where she belongs, which is the Western world. They're trying to scare the people in Turkey, and they're trying to create instability in the country.
I think we need to just be very clear about what we're trying to do in Afghanistan. Frankly, we're not trying to create the perfect democracy. We're never going to create some ideal society. We are simply there for our own national security.
The way I see the job, my definition of it, is to create characters to the best of your ability and then fit into what's trying to be accomplished in the general framework of the film. I think that's whether you're doing this- even if you're doing musical theater. That's what I think an actors job is. I don't know. I like to think what an actors job is is to create characters.
I believe that what we want to write wants to be written. I believe that as I have an impulse to create, the something I want to create has an impulse to want to be born. My job, then, is to show up on the page and let that something move through me, in a sense, what wants to be written is none of my business.
I'm very interested in writing an actual series, that doesn't have too much to do with my music - a world I create that has characters in it. I'm just trying to get there by doing things that I want to do.
I'm trying to make a primitive painting. I'm trying to summon the archaic. I want to enter into a primitive situation. This is my protest against the sensory deprivation that we experience, which is due to this tendency towards globalization, towards homogenization, towards the generic - a technological standard rather than an aesthetic standard. I'm mining history, trying to regenerate a pictorial situation that is more humanistic. It's not about commodification, it's not about fitting into some sort of corporate structure. It's opposed to that direction.
The impulse to mar and to destroy is as ancient and almost as nearly universal as the impulse to create. The one is an easier way than the other of demonstrating power.
What I'm really trying to do is create unique characters.
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