A Quote by Ronald D. Moore
When Kirk dies it was very emotional and very strange, in the moment and all the way through the process. I'd read it in the script and I'd always be struck by what I'd just done and what we were doing, and that this was my childhood hero and I was writing his death.
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One of the things that struck me when I was a kid and I was learning about Pompeii was these figures that were frozen in the moments of their death. It is very powerful imagery, and it is very emotional and very evocative.
I was never conscious of filming except for when I was location scouting. In a way, that is the most important part of the entire process - and the most private. I'm so used to doing that alone. Unlike every other part, it's just me, alone, on location.It's very hard to describe what I'm looking for - something that feels both familiar and strange at the same time. It's not enough for it just to be strange or mysterious, it also has to feel very ordinary, very familiar, and very nondescript.
Burroughs called his greatest novel 'Naked Lunch,' by which he meant it's what you see on the end of a fork. Telling the truth. It's very difficult to do that in fiction because the whole process of writing fiction is a process of sidestepping the truth. I think he got very close to it, in his way, and I hope I've done the same in mine.
We stayed very close to each other [with Leek Kirk], and Lee was amazing. We'd go through the script together, rehearsing it before every shot with the other actors. He was just easy to work with. We were able to put it in my language, which was really important.
The process that we go through in recording with Tool is very organic, but at the same time it is very thought out. There is a very left-brain process of dissecting what we're doing and drawing from source material; it's very research oriented and esoteric.
I write in a very strange way. Things are very fragmentary for a very long time, and then they come together very quickly near the end of the process.
When you're working in cinema, you often have a very, very compressed schedule - very few weeks to just kind of go through that whole process of reflection and refining - and it has to be done.
I don't normally get very star struck. However, I was just at a table read for a movie. It was an animated movie where they have all the actors come in and sit around a big table and read the whole script out loud so you can see what's working, what's not working. And this is an animated movie that Paul McCartney is doing and he's producing it. So I got to meet Paul McCartney.
An eye-opening moment in my life, a very defining moment, was the first time I met Susan Sarandon [before shooting Thelma & Louise]. We were going to meet, just Ridley [Scott] and Susan and I, to go through the script and see if we had any thoughts or ideas. I was reading the script, and in the most girly way possible, meaning that if it was a line that could change or something different I'd like to see, I would think about each one and say, "Well, this one can wait till the set because I don't want to bring up too many things."
When it comes down to the song writing, I'm just very slow - very slow. Because the songs are about my life, so I'm doing emotional work on myself. As I'm writing these songs, I have to learn these lessons and dig real deep into my heart to write this stuff.
This moment where we think we rest, when the brain is floating, you know, in sleep, is actually a moment where I could be very creative in a very strange, uncontrolled way.
Recently I have done some circles that are almost that large and I've come all the way around after walking for an hour and I have hit the other side exactly. I mean exactly the right spot which is very strange. Believe me it's very, very strange.
It was all very strange, Mr. Gray thought, as he wiped the coffee canister clean with a sponge. Very, very mysterious. You were born; you lived a whole life; and at the end, you wound up in a coffee canister. "Ah, well," he said out loud quietly. "That's just the way things are. Life's a funny business." Death, he supposed, was the punch line.
When it comes down to the song writing, I'm just very slow - very slow. Because the songs are about my life, so I'm doing emotional work on myself.
Just play the moment, that's the fun of it. You just play the moment. It's great writing and very clever writing, I think it's witty. And I have those great clothes. You have a great, witty, intelligent script and you look like a million dollars, because we have a great costumer, and it's a pretty good place to begin.
I have done a fair bit of meditation practice, but I think through climbing it's definitely an easier way for me to tap into that mental state of being present and in the moment, very in tune with your body. But not in an intellectual way. Just really responding to the moment, where you don't have time to think.
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