A Quote by Reggie Watts
I love the idea of something beautiful happening, and then it being abrasively cut into. Because in a way it's similar to switching channels or surfing the web; I like people getting lulled into something and then taking them somewhere else.
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Too many people are surfing the web and trying to figure out the politics of getting a movie made or taking meetings and trying to get someone to read something instead of creating a truly great script, because something great has a great chance of getting made, but something average that you've sort of talked people into reading doesn't have as good a shot.
Writing is the basis of all, because creating something that didn't even exist before is like taking an empty canvass. It is a wonderful thing to make something out of nothing. You've got an empty page, you've got an idea, and then you start typing and that is the most thrilling thing of all. And then if it becomes a movie or something else that's a plus, but the original writing of it is what's very exciting.
People tend to set themselves up in patterns; something happens, it hurts them, then something similar happens, and - it's happened again! It seems much bigger then, and they get worried and go through life looking for that thing, and because they're so concerned and looking for it, when anything that happens resembles that thing, they're sure it's happening again. So sometimes people think things are repeating even when they're not.
I don't have a favorite I like and then I'll go and watch "Days of Heaven" and I go how beautiful is that. So I think, at least my idea, was lets bring something again that's primitive and guttural but then let's also do something beautiful where you're outside and this isn't a typical western setting. It's lush. It's green. It's beautiful.
What I think I do is to relate any new material to how similar it is to something else. The closest that I can come up with something that's already in my experience, the easier it becomes. All I have to do then is remember where it differs, like relating a chord sequence that comes from some other tune, or several different tunes, or maybe parts of them and then work it from there.
So if you are seeking something else in the name of creativity, then drop the idea of being creative. At least consciously, deliberately, do whatsoever you want to do. Never hide behind masks. If you really want to be creative, then there is no question of money, success, prestige, respectability. Then you enjoy your activity; then each act has an intrinsic value. You dance because you like dancing; you dance because you delight in it.
You know when sometimes you meet someone so beautiful — and then you actually talk with them, and five minutes later they're as dull as a brick. But then there's other people, and you meet them and you think: "Not bad, they're okay," and then you get to know them, and their face sort of becomes them, like their personality's written all over it; and they just — and they turn into something so beautiful.
I only try to talk to people about things I really do use in my shot. If I see something similar and something that will help them, then you try to come to them and say, 'I think I might have something for you. Think about it if you like it.' If they do, and they want to keep talking about it, then I will.
I think a lot about the editing of the films when we're making them, partly because I studied that, and partly because if you think about being in love while you're supposed to be acting in love, there's nowhere to go. You have to focus on something else and then do what's being asked, and you might get some semblance of something interesting.
A lot of new writers assume you have to know the where the story is going and that it flows out as molten gold. But really, sometimes you think you are going to one place, but then you decide that is dumb idea. Then you go somewhere else and it is a worse idea. But then you switch again and you might have a beautiful accident.
I don't feel bound by the ebbs and flows of musical trends, or what's happening with new music in general. I always had a fascination with that sound. It's a mixture of the idea that something could be going wrong along with the idea of bending constrained, Westernized music out of tune. But because I wasn't copying an idea, and it just came from somewhere inside me, it felt like a birth of something that most people didn't understand at the time.
It's like, the front door of the office is like a Cuisinart, and you walk in, and your day is shredded to bits because you have 15 minutes here, 30 minutes there, and something else happens, you're pulled off your work, then you have 20 minutes, then it's lunch, then you have something else to do.
I think it just seems like something that somebody else does, like they raise actors somewhere in Ohio, and once in a while, people go and pick their actors and move to Hollywood. It seemed like such a distant idea. But then, as I started growing up, I'm like, 'Oh, this is an occupation.'
I can start with the idea of taking until you can take off, through the idea that all of my writing foregrounds the idea of how I'm taking from my own life. I'm stealing from my own life in a way, and from the people around me, but in service of getting somewhere else. I'm starting with an autobiographical impulse, to get a better vantage on the circumstances of the life that I happen to be in at the moment and how that life connects to others.
We look at the Web as being our basic power plant, kind of like electricity, so the Web and communicating in this fashion is second nature to us now. It's not like we go brochure, television, mail. It's Web, and then everything else. It's social media first, and everything else.
People should always be wary of that because the precedent is set. And it's so much easier to build on a foundation than it is something that doesn't exist. So you see it as something that's happening to people that are not you. And then it expands, and it expands further. And then, one day, you're on a registry.
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