A Quote by Roy Peter Clark
Riffing on language will create wonderful effects you never intended. Which leads me to this writing advice: 'Always take credit for good stuff you didn't intend, because you'll be getting plenty of criticism in your career for bad stuff you didn't mean either.'
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You have to let your team get all the credit for all the good stuff that happens, and you take responsibility for the bad stuff.
A wonderful area for speculative academic work is the unknowable. These days religious subjects are in disfavor, but there are still plenty of good topics. The nature of consciousness, the workings of the brain, the origin of aggression, the origin of language, the origin of life on earth, SETI and life on other worlds...this is all great stuff. Wonderful stuff. You can argue it interminably. But it can't be contradicted, because nobody knows the answer to any of these topics.
For me, it's really easy to be kind to others when I remember that none of us came into this world with a manual about how to get it all right. We are ultimately a product of our biology and environment. Consequently, I choose to be compassionate with others when I consider how much painful emotional baggage we are biologically programmed to carry around. I recognize that mistakes will be made, but this does not mean that I need to either victimize myself or take your actions and mistakes personally. Your stuff is your stuff, and my stuff is my stuff.
To develop your own voice, you have to keep writing a ton, and this is something where I think Twitter is helpful. I use it to write a ton of jokes. You have to write a ton of bad stuff before you know what you're good at. And that's what some people I think have trouble with, the thought of getting past the bad stuff.
I've always thought, since the beginning of my career, that it was better to take your time and write some good stuff and then go in and not be pushed or forced into just crankin' stuff out, whether it was great or not.
Critics can be your most important friend. I don't read criticism of my stuff only because when it's bad, it's rough-and when it's good, it's not good enough.
For sure, you don't believe the good stuff. I mean, the good stuff is just insane - wacky. If you don't take it too much to heart, it does help when the negative stuff hits. And you know the negative stuff is coming. It's got to! What comes up must come down.
Nobody ever seems to want my advice about serious stuff. People will be like: 'Who made that sweater?' Or 'How did you get your hair so straight?' They don't to come to me for the relationship advice or deep stuff. In fact, my little sister actually hides from me.
Grace is above praise and blame. I never read the bad stuff people write, but I never read the good stuff, either. Ever. I know who I am, and I know that God looks down on me and smiles. I know that - without a shadow of a doubt.
When you're trying to force things in a script, it seems like it's getting somewhere, but it isn't real or interesting. All the bad material you've written becomes an albatross around your neck. So I really don't like writing a lot of bad stuff, I prefer to just keep narrowing it down to stuff I think is solid.
There's a cumulative effect to getting good parts as a freelance actor, because you're only as good as your last job, and you have to keep going out and getting them. Unless you're part of the finance structure, by which I mean a bankable star, which I never was and never will be.
All the work I do is personal, so the good stuff and the bad stuff that you see in there is all good stuff and bad stuff that I have, and part of the journey, for me, has been to embrace these things that I find embarrassing about myself: my stubbornness, my ego, my maudlin-ness - these things that I see myself do, and I go, 'Oh, David, stop that!'
You're really spread out now, you've got stuff all over the WORLD! You've got stuff at home, stuff in storage, stuff in Honolulu, stuff in Maui, stuff in your pockets...supply lines are getting longer and harder to maintain.
I was sheltered, and there's good and bad to that. The good was not getting into the drugs and the alcohol and the really sorry stuff, and the bad was finally coming out into the real world and trying to deal with it, which was hard for me.
Believe me, there is a ton of stuff we shot on Superbad that was unusable, because people were just riffing and riffing. It's just part of the Judd Apatow method, and part of the technique is to also be able to rewrite the movie again in the editing room.
A lot of times you get credit for stuff in your movies you didn't intend to be there.
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