A Quote by Roger Ebert
Wes Anderson's mind must be an exciting place for a story idea to be born. It immediately becomes more than a series of events and is transformed into a world with its own rules, in which everything is driven by emotions and desires as convincing as they are magical.
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Even when he transposes Roald Dahl's 'Fantastic Mr. Fox,' he injects so much of his own personality and his own world that it becomes a Wes Anderson story, and you forget that Roald Dahl is behind the story. That's the proof of great directors to be able to digest and recreate sometimes a classic.
Success is not to be gained by a blind and slavish following of anyone's rules or advice, our own any more than any other person's. There is no royal road to success- no patent process by which the unsuccessful are to be magically transformed. . . . Rules and advice may greatly assist-and they undoubtedly do this-but the real work must be accomplished by the individual. He or she must carve out his or her own destiny.
I think you have to be ready to switch gears and go with the team as a director, as opposed to superimposing your own strict idea of the story. There are very few directors that can micromanage and still come out with something that's living and breathing on a page. Wes Anderson is one of those.
The idea of working with David Fincher or Paul Thomas Anderson or Wes Anderson or Scorsese or Spielberg or any of the guys I really idolize is a dream for me.
Training is doing your homework. It's not exciting. More often than not it's tedious. There is certainly no glory in it. But you stick with it, over time, and incrementally through no specific session, your body changes. Your mind becomes calloused to effort. You stop thinking of running as difficult or interesting or magical. It just becomes what you do. It becomes a habit.
The world cannot hold onto you, for the world is not sentient. The world doesn't have a mind nor does it have desires; it is only your mind's objectivisation. It is your own mind's play which imagines that an object-call it the mind or whatever-can hold onto you. It is the idea you have of who you are that is holding onto its own fearful projections as the mind. Leave all of this and remain as the pure, joyous Self.
It is not events and the things one sees and enjoys that produce happiness, but a state of mind which can endow events with its own quality, and we must hope for the duration of this state rather than the recurrence of pleasurable events.
A short story is confined to one mood, to which everything in the story pertains. Characters, setting, time, events, are all subject to the mood. And you can try more ephemeral, more fleeting things in a story - you can work more by suggestion - than in a novel. Less is resolved, more is suggested, perhaps.
The story itself, the true story, is the one that the audience members create in their minds, guided and shaped by my text, but then transformed, elucidated, expanded, edited, and clarified by their own experience, their own desires, their own hopes and fears.
I'm probably more character-driven than plot-driven. It's rare for me to attach myself to an idea for a story.
From the beginning, the series has been story driven - I began with a story idea - but research feeds it.
I had My Little Ponies. I was obsessed with the idea of a creature that was born with something magical that sort of made them the misfit in the world of the stallion. I’m actually quite obsessed with unicorns. They are in essence a mythical creature. The unicorn is born magical and it’s not the unicorn’s fault and it doesn’t make it any more or less special or any less unique but it can’t help that it was born with that magic.
Ideas are born, they struggle, triumph, change, and they are transformed; but is there a dead idea which in the end does not live on, transformed into a broader and clearer goal?
As brain functioning becomes more and more integrated, consciousness - the mind - becomes more and more invincible, and then any dictate of the mind is immediately followed by the body.
I want to work with Wes Anderson, Paul Thomas Anderson, the Coen Brothers, or Spike Jonze.
There really isn't a dream role, but there's a dream situation where I could work with a director that I idolize. So, the idea of working with David Fincher or Paul Thomas Anderson or Wes Anderson or Scorsese or Spielberg or any of the guys I really idolize is a dream for me.
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