A Quote by Shea Hembrey
I'm interested in the essence of things. If you pare things down, what's left? It's like I'm trying to describe the soul to an alien.
Related Quotes
If I write a character, instead of looking from the outside, like maybe a journalist would, trying to describe them physically and figuring out what kind of things they might be interested in or have in their house, I don't really do it that way. I try to feel what it would be like to be inside this person, to be them.
If you describe things as better than they are, you are considered to be a romantic; if you describe things as worse than they are, you will be called a realist; and if you describe things exactly as they are, you will be thought of as a satirist.
A lot of organizers are trying to figure out how do we create entrances for people so they can be involved in the work in a way that makes them feel is aligned to the things they're interested in and not the things the organizer is interested in?
What I found interesting writing a screenplay as opposed to writing a novel is not the obvious thing, which is having to pare everything down and find the kind of essence, the skeleton if you like, which can then be fleshed out by performance and cinematography.
The essence of a person is not the clothing she wears or the things he does. People who love them do not stop loving them when they change clothing or do other things. Your essence is not even your history, culture, race, or what you think and do. It is your soul.
I have been primarily interested in how and why ordinary people do unusual things, things that seem alien to their natures. Why do good people sometimes act evil? Why do smart people sometimes do dumb or irrational things?
The world shrinking down about a raw core of parsible entities. The names of things slowly following those things into oblivion. Colors. The names of birds. Things to eat. Finally the name of things one believed to be true. More fragile than he would have thought. How much was gone already? The sacred idiom shorn of its referents and so of its reality. Drawing down like something trying to preserve heat. In time to wink out forever.
In truth, factual information - names or dates - have never interested me much. Those things are like an alien language that can interfere with the language of the painting, or even prevent its emergence.
I really like to go for the essence of things - the most beautiful parts of things - of human beings or of music. If there are things in there that are getting in the way and complicating it, it's just not good for me.
One of the things that I've been trying to do with my characters, one of the things that does lead to me turning things down, is I don't really want to repeat myself.
What's hard to do is describe why you like something. Because ultimately, the reason things move people is very amorphous. You can be cerebral about things you hate, but most of the things you like tend to be very emotive.
Trying to describe my life and feelings to you is like trying to describe coulours to the blind, or music to the deaf. It's simply not possible.
Trying to describe a good marriage is like trying to describe your adrenal glands. You know they're in there functioning but you don't really understand how they work.
There are things you can describe in life and things you just can’t. There are dangers and adventures, miseries and fear that you can tell about… well, then there’s hope and joy and love – and those are beyond the power of words to describe.
I am interested in a lot of the same things people are interested in. I am trying to raise kids without them self-destructing. I am trying to hold the marriage together, and I am trying to take off the same 10 pounds everyone else is.
I'm interested in the spirits of people. In the theatre, there's the acting part of acting - and I'm not saying that can't be great - and there's the essence. To explore that essence, you need a key, a look, a gesture, an insight that unlocks the person's soul.
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