A Quote by Robert Morgan
When you have an idea for a story, you want those characters to reach as many people as you can. I think you normally think of prose as a way of doing that. It fits our time, the culture.
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I'm a line-maker. I think that's what makes poets different from prose-writers. That's the main way. We think, not just in sentences the way prose writers do but also in lines. So we're doing these two things at the same time.
I think that television lately has been extremely dark and, in some ways, cynical but I also think that people who are writing those shows probably feel exactly as I do - that sometimes the darkness of a story can highlight the light in a story. There's a lot of cynical stuff but I think it may be even more in movies now where you see so many movies about cynical and corrupted characters. That's the state of many movies right now but movies, television, all of culture, there's always going to be a battle between the stories that are cynical and stories that are hopeful.
I think many people think competitive eating is a really disgusting sport, so people think they look bad normally. But I care about what I'm wearing. I don't want to be someone who is doing something that is considered gross and then also look like a slob.
I want the look of a movie to be secondary. I really want people to be engaged in the story and the characters and not think about a style or think about me or think about the director of photography and what a great job he's doing. I never feel like that should be there.
It takes about a year to write an opera for me, but not a really a year of writing. I'm touring at the same time, and I'm playing, sometimes doing smaller projects.[The opera] Akhnaten fits in with Gandhi and Einstein, so that forms a trilogy in a way.I picked people who were these kind of larger than life characters, who kind of changed the world they lived in by almost the force of their personality and their inventiveness. People that I think not only do I admire but I think they're admirable people.
Normally, filmmakers would just write a script and cast people to act as certain characters in the story. But in my way of doing things, I have the actors in my mind already, so I'm trying to borrow something that's unique to them. The characters have a very natural connection to the actors themselves.
I look at the story, I look at the idea and just try to think of it in terms of that whole body of myth and see where the characters fit in and what they ought to be doing-all those archetypes are there to play with.
Our goal is to tell people about the International Space Station. I think very rarely people look up 250 miles and think, What are those guys working on, what are those men and women doing at this moment... They're living and doing regular things, but also doing incredible work as well. We really want to bring that to people.
I've always loved Louisiana and particularly New Orleans, and I think a lot of people when they travel there, think they're home there - there are just so many spirits, it's so rich in culture. It's steeped in a true spirit of individuality that makes this country. It's the oldest part of our story, in a way. And being in that climate, it was really conducive to letting our imaginations soar. I found it to be the true inspiration.
There's also something happening in television similar to what happened in the '80s, when people stopped taking so many drugs and wanted to hear real instruments in music again. I think people want plot, story and characters. Those are more important than having a big star.
My idea about the role of artists is to get people to look at things in a way that's different than the way they normally would if they are being told how to think, what to do. I think when people receive information through art, they are more open-minded.
Women have been trained in our culture and society to ask for what we want instead of taking what we want. We've been really indoctrinated with this culture of permission. I think it's true for women, and I think it's true for people of color. It's historic, and it's unfortunate and has somehow become part of our DNA. But that time has passed.
That's what was so amazing about 'Mulan.' Here is this story with all Chinese characters, and yet so many people related to her character and loved the story. So I really think as long as you have a good story that relates to a lot of people, it doesn't matter what ethnicity it is.
I think people are a mixture of everything. I like desperate characters because they do things that most of us normally wouldn't do. If a character is a scoundrel or a liar you think you know them, but then I can bring some emotion to them and they become much fuller than you ever imagined. So what I try to do is have a story where you don't quite know where it's going, and characters who you don't quite know where they're going.
I think musicians should stay off television generally. I get asked all the time. Those shows are just promoting insipid comedies. Who watches those shows? And whoever does I don't think my music would speak to those people. I don't even want those people to hear what I'm doing.
I think people want immigration reform. I think people want to see a path for citizenship. I don't think we as a country want to discuss this in the way we do. I don't think we want to separate families. I don't think that's part of our values.
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