A Quote by Robert Greene
I'm okay for things like theater and stuff but for film, I just didn't think in the right way and I didn't like the business. So I was unhappy. So I was in something that was moderately related to my, what I call my calling or my life's path, which is writing, but it wasn't like the right fit.
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I wasn't trying to fit into a thing... it was not like I was like, 'Right, I'm the Han; I'm the Leia; I'm the Luke.' I was just like, 'Okay, I'm Rey, just trying to do me, just trying to do this scene, trying to do the right thing,' and I think that was a huge advantage because I think if not, it would've been a very different thing.
If you want to be unhappy, uncomfortable, and insecure, just spend your life trying to do something that is not right for you. It is just like trying to wear shoes that don't fit.
I think some of this just feels right. You're in the shower and you come up with a sentence and it's beautiful. You don't know how it's going to fit in the film, but you put it in because it feels right. This is a very long way of saying, so much of it is me feeling like I'm catching ideas rather than coming up with ideas. It's very fluid like that.
I think about Chicago as being a very actor-centered theater town, and people aren't in it to get to the next level, like movies and television. We're there for the love of the theater. So I think it fit right into my particular skill set, which is I love performing live.
In the States, you have the First Amendment. People feel the freedom to speak and the right to be heard. And they kind of push the message: "It's a free country." Everybody has the right to say whatever they want to say. But in the Middle East, culture is your guide. You have to ask, is it culturally okay to say something like that? Is it culturally okay, for example, to show a woman giving birth? As Arabs watching such a scene in an American film it's okay, but when it comes to the Arabic context, we're like, "How dare you?" So it's how you present it.
I always think that the difference between film and theater is like the difference between masturbation and making love. Because, in film, you just have to get one moment right; you're practically by yourself. And in theater, you actually have to have a relationship with the audience.
I like reading for things. I've shown up for jobs before where I haven't read for them, and there's something kind of intimidating about that - where the first words they'll hear from me are when they call "action." There's something about actually going in and earning a part and going, like, "Okay, they really liked what I did, and so I'm on the right track."
Throughout history in the theater and film people do like sarcastic characters, and they do like curmudgeons - if they're amusing, they do like them despite the fact that they're vitriolic, particularly if they're for the right thing. If you can see that the person is a decent person and is for the right thing, and is not just a nasty person with base motives, but someone who is a decent human but expresses himself.
When I'm writing a song, things are always popping into my head, it's not so direct. It feels more like I'm in a room and there's this whole big jumble of clothes on the floor and it's like choosing what to wear. There are a lot of different things in there and you kind of pull something out and think, "No, that's not right," or you're like, "Yes I'll put this on with this."
Little projects - not feature - film projects - you know, theater things, writing things, and jobs like doing rewriting for money, stuff like that. I don't recommend it. It's not a schedule that I'd want, although it was really good for me in a lot of ways. I became a better writer.
I think television is moving more into movies, particularly with serialization and almost cinematic proportions and expectations. A show like 'Game of Thrones' is a perfect example of that, or even a show like 'The Wire,' which isn't all about instant gratification it's about inviting someone into the long experience of television the way you'd be invited into a theater for two hours. So I think in that way, and the quality of writing in television is probably much better than most film writing.
I like structure - like driving: go past the school on the street, stay on the right side, no hitting the car, go in right, you'll see a big church, stop and take a left, and you'll have it. By doing this I'm giving a structure of life, a path of light, and showing what happens between me and me, which is something very beautiful.
I like to have something that makes me want to write. Otherwise, I'm just writing for the sake of it. I feel like if I've got something to say, I'll say it the right way.
I like vintage stuff. I go through a vintage store and find things that I feel like I fit right into them because of all the years that they've been used.
I'm obsessed with great endings and crazy intros and stuff like that. I think we all are from what we've listened to and stuff, so I've always focused on great bridge melodies that just kind of naturally fit, or like a crazy ending at the end of 'Seize the Day,' something like that.
I'm partly somebody else trying to fit in and say the right things and do the right thing and be in the right place and wear what everybody else is wearing. Sometimes I think we're all trying to be shadows of each other, trying to buy the same records and everything even if we don't like them. Kids are like robots, off an assembly line, and I don't want to be a robot!
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