A Quote by Sandra Cisneros
The comments you'll get from a filmmaker about your performance are going to be very different. My writing workshop is about mixing it up, cross-pollinating, not only in genres but in occupations.
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When I have a writing workshop, I like to have people that are anthropologists and people who are poking around in other fields, I like to have them all in the same workshop, and not worry about genre. I like to mix it up, because the kind of comments you can get from a fiction writer about your poetry are going to be very different than what you'll get from a poet. Or the comments you'll get from a filmmaker about your performance are going to be very different. My writing workshop is about mixing it up, cross-pollinating, not only in genres but in occupations.
I like to mix it up, because the kind of comments you can get from a fiction writer about your poetry are going to be very different than what you'll get from a poet.
We all get to choose where we set up the stage of our lives - before the Crowds, the Court, the Congregation, the Critics (inner or otherwise)-- or the Cross of Christ. All except One will assess your performance. Only One will accept you before your performance ... Only in Jesus is there 100% acceptance before even 1% performance.
If there's an article about sexual assault, if there's a video about feminism on YouTube, you're going to get the most horrible, disgusting comments ever. And sometimes the comments are pornographic, and sometimes the comments are really harassing. So I think that it's kind of a difficult place for women to write sometimes.
The compartmentalizing is so severe, that we kind of lose track. When you sit down to dinner with friends, you're going to talk about everything, sharing this polyphony of experiences, this spectrum of culture, and it's all cross-pollinating all the time.
I don't really enjoy working in TV, to be completely honest, even though it's incredibly lucrative, I'm just terrified of not being satiated in a myriad of different ways. It's amazing that I get to create every day, as an actor, or a director, or a writer, and I get to do it in a variety of different genres and worlds and characterizations. I think that's the great privilege of what we do, we get to make believe. I get to go to so many different places, try on different occupations, take on different points of view. That's what's always been sort of alluring.
The way my body is viewed in the world is different than a male body. People are going to write about the performance, but they're probably also going to be writing about what I was wearing or my hair, which just doesn't happen to men.
Honestly, when you start talking about genres, you're talking as much about the business side of writing as anything else. Certainly there are elements of reader expectation that play into various genres, and those are important, but it also becomes about packaging, placement, audience....In the end, I'm not a fan of labels. I think the best fiction blurs the boundaries between genres, stretches and breaks them.
The ideal for me is to mix it up. When I have a writing workshop, I like to have people that are anthropologists and people who are poking around in other fields, I like to have them all in the same workshop, and not worry about genre.
Frankly, I get much more sensitive about what's written about me than how I look in a photo. I'm so used to people seeing my image in plays and films that what they think about how I look is none of my business. If they says, "Hey, he doesn't look good," I'm like, Whatever, because I know I look different from day to day. But if you're up there putting your heart into something and people reject your performance, that's very painful. The written word can kick your ass.
I don't even think places like the National Youth Theatre (NYT) are necessarily about wanting to be an actor when you grow up. They're about meeting people from different backgrounds and different religions and different cultures, and mixing with people that you wouldn't ordinarily meet.
When I look at what a writer owes to the reader, it's critical to know that everything you're writing about is not made up in your head. I feel that unless you can document and be certain about what it is that you're writing about, the reader is going to lose faith in your own integrity.
'Skins' is about a group of teenagers in Bristol, and it's all about what they get up to and all the different things they do. I think it's a good show because it's come from a very real place, and there's a lot of young people involved in the writing.
I basically wake up at five in the morning and grab coffee and just get to the studio. And I have a list of things I need to get done every day. Sometimes it's just mixing, sometimes it's actually writing, sometimes it's writing, recording, and mixing. It all depends on what is necessary that day.
The important thing to know about playing to win and playing not to lose is that there are actually different neural networks that are being used. It's not very easy to do both at the same time and, if you are trying to have a playing to win mentality, you're going for it, there's some things that trip you up or trigger the wrong neural network. If you start worrying about your mistakes all of a sudden, if you get too focused on the facts and the details, these are going to shift your neural networks and sort of screw up your strategy.
In Hollywood, you tend to get pigeonholed to certain genres, and then when you try to do something different, it's not always so easy. Obviously, you don't want to keep repeating yourself, all the time. So, it's a constant struggle for every filmmaker and actor to find something that you can really feel passionate about. It's a profession like anything else.
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