A Quote by Sam Levinson
I tend not to approach things intellectually at first. Maybe after the fact i can look at it and see ultimately what it's doing. I start with the characters and their inner lives.
Related Quotes
I never really approach any project or story thinking of themes first or what a certain character 'represents.' Maybe other writers do, but for me, it just starts with the characters and a certain emotion I want to convey. It usually isn't until I get deeper into a book and look back a bit that I start to see the themes, etc.
Creativity is the quality that you bring to the activity that you are doing. It is an attitude, an inner approach - how you look at things . . . Whatsoever you do, if you do it joyfully, if you do it lovingly, if your act of doing is not purely economical, then it is creative.
But it doesn't have to be this way. We can do things better. We need to stop doing business as usual and start focusing on end-to-end quality. Security needs to be built in from the start - not slapped on after the fact.
I tend to root for characters who have a lot of negative qualities, but what's driving them forward is their passion. They're on a mission, and maybe their approach is misguided, but you can't fault them for giving 150%.
Many people in Western culture are striving for success. They want the home, they want the great business. They want all of these outer things. But what we found in our research is that having those things, certainly doesn't guarantee what we really want, which is happiness. And that's when all those outer things come. They don't come from going after them first to get the happiness, it's backwards; you go for the sense of inner joy, of inner peace, of inner vision first and then all of the other things from the outside appear.
I tend not to look at my work after I've done it. In fact, the only time I typically get to review it is when the fans bring up comics at shows, and I kind of flip through it and be like, 'Oh, I remember doing this!'
When people come to see my stand-up, they get a chance to see my characters interact with each other. I enjoy pushing my characters to the limit. No matter how far out there I go, I look for things that make the characters human.
I tend to think of Pluto and its moons as presents sitting under a Christmas tree. They're wrapped, and from Earth all we can do is look at the boxes to see whether they're light or heavy, to see if something maybe jiggles a bit inside. We're seeing intriguing things, but we really don't know what's in there.
The creation lives as genesis beneath the visible surface of the work. All intelligent people see this after the fact, but only the creative see it before the fact - in the future.
For me, I look at a pilot and go, 'I see the landscape. I see the characters. I see the direction and the potential of the story.' And I also go, 'That didn't work. I could change that. Maybe that works. I don't know. We'll see.' For me, I look at it, as an actor, as what can I improve upon?
After the first glass, you see things as you wish they were. After the second, you see things as they are not. Finally, you see things as they really are, and that is the most horrible thing in the world.
Milton Katselas said, "Who are you to look down your nose at Anna Magnani and Maureen Stapleton? Who do you think you are?" I was doing this kooky meditation at the time called inner-guide meditation, where you go into a cave and you have a guide, and you fly around. So I said to my inner guide, "Take me to the energy that's blocking me from accepting my casting" - because I understood it intellectually, but I didn't want to do it in my heart.
When you're really young, you tend to fall in love with characters. If you start seeing the same type of character everywhere and realize that they don't look like you, or they don't speak like you, you start wanting to change who you are. That's something that I did when I was a young kid.
I look at a pilot and go, "I see the landscape. I see the characters. I see the direction and the potential of the story." And I also go, "That didn't work. I could change that. Maybe that works. I don't know. We'll see." For me, I look at it, as an actor, as what can I improve upon? So, to have it out there and judged solely on its own merit is really a unique experience for me.
Faulkner's characters, too, were uneducated. They were deprived, but they were allowed to have very rich inner lives. I want to advocate for that, for inner lives that are much more complicated and more poetic than we think.
I'm starting to play lots more naturalistic, realistic people than when I first started. Maybe because I was doing character comedy shows, and I was doing slightly weird, oddball characters with weird accents, those were the characters that I got cast to play - which made perfect sense.
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