A Quote by Neal Brennan
The story of '3 Mics' is the story of a guy who wants to be something and is sort of figuring out how he gets there.
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Every stage of filmmaking's important while you're doing it, so I spend most of my time figuring out how to tell the story. I have all these stories and ideas, but it's how to tell the story.
There's the story, then there's the real story, then there's the story of how the story came to be told. Then there's what you leave out of the story. Which is part of the story too.
Not too many people have my story. And this is my story: A guy goes from unknown to a Heisman Trophy finalist. He gets kicked out of school. He absolutely rebounds himself. He becomes a millionaire. He's taking care of his family. And then he's getting injured.
You set up a story and it turns inside out and that is, for me, the most exciting sort of story to write. The viewer thinks it's going to be about something and it does the opposite.
It was exciting to play a gay person in high school who's really proud of himself and isn't dealing with the sort of typical story line - the coming-out story - but is already out and sort of an advocate in his own way.
It's so easy to call something a Jewish story or a gay story or a woman's story. Aesthetically, if a story is not universal, it has failed. Your obligation is to the story. One rule creatively, and emotionally, is its universality.
In the thousands of stories I've collected over the years there are people who just want to know that their story matters, that their story isn't beyond hope. And people, no matter how broken a story I might read, I have always found at least a glimpse of God's hand still at work in each and every story. I have been powerfully reminded that God is in the junkyard business. He willingly walks into the messiest parts of our lives, gets his hands dirty, and begins building something beautiful out of that very thing which the world might overlook as worthless.
I spent ages figuring out things like viewpoint, how you tell the story, and so on.
And the moral of the story is that you don't remember what happened. What you remember becomes what happened. And the second moral of the story, if a story can have multiple morals, is that Dumpers are not inherently worse than Dumpees - breaking up isn't something that gets done to you; it's something that happens with you.
You see a guy with one leg, he's got a story. "Land mine '69." You see a guy with one arm, he's got a story, too. "Snow blower, bottle of whiskey." You see a guy with one tooth, what would the story be? "Well, uh, I like a lot of taffy."
Whether you're an entrepreneur, a small business, or a Fortune 500 company, great marketing is all about telling your story in such a way that it compels people to buy what you are selling. That's a constant. What's always in flux, especially in this noisy, mobile world, is how, when, and where the story gets told, and even who gets to tell all of it.
I did a film called 'Worlds Apart' about a Jehovah's Witness. I was the love interest - the male lead - but the story was about the female lead, a young girl who is a part of this cult, and she wants to break out. She meets a guy who has to help her. She has to find out who she is. It's more like a coming of age story.
Literature is an aspect of story and story is all that exists to make sense of reality. War is a story. Now you begin to see how powerful story is because it informs our worldview and our every action, our every justification is a story. So how can story not be truly transformative? I've seen it happen in real ways, not in sentimental ways or in the jargon of New Age liberal ideology.
Producing is figuring out how to make each character have a distinct voice, how to make the story twist and turn - that's the biggest challenge.
I've had to try and find a way over the years of writing narratively that doesn't really require you to sit down and work out what the story's about. You're brought into a sort of sequence of images that have that emotional resonance, but it's kind of irrelevant what the actual story is. It's taken me maybe 13 albums or something to work that out.
It's all a question of story. We are in trouble just now because we do not have a good story. We are in between stories. The old story, the account of how we fit into it, is no longer effective. Yet we have not learned the new story.
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