A Quote by Naomi Watts
Noah Baumbach writing is really wonderful. I think the way he plays out each character with a unique voice is really impressive, and rhythmically his dialogue works.
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I think every time you take on a new role, you're trying to help find that voice and you add your own bits and pieces along the way but with Noah [Baumbach] it's already done.
I think Ryan Gosling is a really great actor who's meticulous about his work. And I'd love to have the guts that Johnny Depp has to actually go outside the box on a character. When he plays a character, he plays it in a way that nobody else would.
I know Noah Baumbach from a long time ago. We were hanging out one night, and he asked if I wanted to be in his movie. If somebody whose stuff you really like says, 'Hey, you want to do it with me?,' you got to do it. I would like to say that I get these offers all the time, but I don't.
I try to be really, really specific, because each character is really an individual and you have to find out what makes them unique.
The ability to get inside your character's head in a graphic novel is really fun and useful because one, you can really define the character's voice and two, it's a way easier way to convey what the character's thinking by actually laying out what he's thinking.
What must novel dialogue . . . really be and do? It must be pointed, intentional, relevant. It must crystallize situation. It must express character. It must advance plot. During dialogue, the characters confront one another. The confrontation is in itself an occasion. Each one of these occasions, throughout the novel, is unique.
There's a point I can get to where I start writing character and then through the dialogue, after all of this preparation, the thing starts to feel like it's a character developing through the dialogue. A lot of character traits do come from writing dialogue, but I have to be ready to do it.
I want each character to be as unique as possible. I want them to reflect something of who they are in the way that they move and in how their bodies work. That was foremost in my head when I was writing Salvage: I wanted every gesture, every little movement, to really carry meaning and communicate meaning to the reader. I was very conscious of that when I was writing.
I've worked a lot with Noah Baumbach, and he doesn't make it easy to like his characters, but the stories are funny and witty and there's an edge to that kind of humanity.
The expectation is this low, gravelly voice for John, but I went through his early recordings and there were songs in there where the voice was so different, I wasn't even sure if it was him singing, ... So it was interesting to me that we would see him develop the Man in Black sound. I thought it was really important that his voice change as his persona slowly solidified. The music was really the doorway into the character.
I'm not flashy. I'll do nice things on the floor, but I'm not going to do the really impressive dunk or make the really impressive block. I think that's what fans enjoy most about coming to basketball games, but that's not what I provide night in, night out.
I haven't scoured Dixie out of my voice. But I don't think that the books that I have written... have really in any way been Southern in character.
When I first started writing plays I couldn't write good dialogue because I didn't respect how black people talked. I thought that in order to make art out of their dialogue I had to change it, make it into something different. Once I learned to value and respect my characters, I could really hear them. I let them start talking.
'Breaking Bad' - when I started watching that show, I thought it was terrific. I love the way it was shot. I love the writing. I love the arc of Bryan Cranston's character. I just thought that was just really, really a wonderful, wonderful show.
I never looked at Noah as an animal collector. I always thought of him as an apocalyptic character. I read everything I found about it and was surprised to find that in all religions there is the story of the flood, and that one "hero" saved the world. This proved that Noah and his Ark - were not a religious myth, and is evidence that humanity really went through the flood.
I think film writing, you're thinking in pictures, and stage writing, you're thinking in dialogue. In film writing, it's also, you only get so many words, so everything has to earn its place in a really economical way. I think for stage writing, you have more leeway.
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