A Quote by Paul Madonna
The thing about how that process works is that it's more about the editing and time for judging the ideas. Most pieces I publish each week have been around for months. This is a response to the beginning of the strip, when I was making them so quickly. I would just conceive a piece, finish it, and then the next day see it in the paper. That was when I was doing dailies four days a week.
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I like making series, for a couple reasons. One, the repetition of routine is very healthy because I can get a little crazy; I want to be making things all the time. And if I publish something every week, I don't have to put every idea I have into one piece. It's more like, here's one idea: execute it, see it through, think about it, do it the best you can. And then there are going to be ten more ideas that come while you're making that, because creativity works that way.
Comparing filmmaking to a plastic model, shooting is the process where you mold and color each piece, and editing is where you build a finished whole from the pieces you molded and colored. Obviously, the latter is the most enjoyable part in the making of plastic models, so editing is the process in filmmaking I enjoy the most. But at the same time, editing can be a painstaking task, too.
A sitcom, you rehearse for four days of the week and then you shoot it all in one night in front of a studio audience. It's like a play every week, you just shoot it over a seven or eight-day period with a single camera. I enjoy this format of show much more. I'm a feature guy. I like making movies. So the four camera thing I didn't love it that much. I found myself slightly out of my element.
I loved 'Celebrity Fit Club,' working out six days a week, running a mile and a half three times a week, and doing 1,000 crunches and sit-ups a day with a trainer. I did too much, but I lost 78 pounds of fat and 18 inches around my waist in four months.
I set up a system for myself where I work on a lot of pieces at once. I'll switch between them and keep working on a piece until it comes together, and then I'll publish it. This way some pieces can take a year if they need to. The trick is to just make sure one is ready every week.
I actually had a week where I literally wrote four songs and all of them are on my album. But sometimes you'll go a week where you'll write songs and they never see the light of day. So that process takes a long time.
A lot of my poems are about how ill I am and how I probably won't live beyond next week. I publish a poem and everyone says 'cluck cluck, how wonderful, how brave', but then embarrassingly I'm still here! You see the problem?
In TV, it is important to get everything on film as fast as possible. You rehearse every day of the week, and each day, the performance may be changed. The process is more result-oriented than in the movies. It's more about working quickly.
It was important to my father that I go to Hebrew school three days a week for two or three hours each time. To me, it felt endless. Think about it from a kid's perspective: I would finish my normal school day, then get on a bus and go to another school. That was tough to take.
When I was getting ready for the release of 'Deadline,' when it was coming out soon, I decided that the appropriate way to get people excited about the book would be to write a novella in 30 pieces and publish a piece on my blog every day for a month... during a convention, a week-and-a-half-long trip to New York, and a doll traders' expo.
We take things for granted, and because we wake up every day, you start talking about what you're going to do next week. I said, 'Who told you you would be here next week?'
I'm doing physics because I'm curious about how it works - full speed ahead, damn the torpedoes, don't worry about whether somebody is going to be able to do an experiment next week, just figure it out.
In the beginning this was just an idea. Then it was a short story. Then it was a script. Each step was pretty exciting to see people come on board to support the project. It's gratifying to know that more people are seeing my work in this form than my work as a playwright. And it's been fun to hear people's response to seeing it. I've been having some deep conversations with strangers and friends about how much it has made them think about slavery and its impact today.
I'm pretty faithful to one fragrance, but I go through phases. It's more about times and moods than moments in the week. In my life, I don't really have a Saturday and Sunday - you might get days off in the middle of the week and work on the weekend. I wear Roberto Cavalli all the time now. Fragrance is an extension of yourself, you need to feel like it's part of you and you can wear it in any situation and it just represents you, any time of the day, any time of the week, any time of the month.
But I think we're going to have people who work from home a couple of days a week, three days a week, four days a week. And I'm perfectly comfortable with all that.
The first time you went to the gym, to be trained and worked out, there'd be about four or five wrestlers, they'd take you to heavy calisthenics and then they beat the tar out of you... after you got tired. If you came back the next day they'd do the same thing. After about four days of you surviving this punishment, then maybe they might show you how to wrestle. That was to teach respect.
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