A Quote by Sheck Wes
I kind of want 'Mudboy' to just be only Sheck Wes, and 'Mudboy' is going to talk about how I became a Mudboy.
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I'm a mudboy. I came from the mud, oozed out the concrete. I'm not a rose. I'm a mudboy: I came from nothing.
Friendship isn't a science mudboy. Just do what you think is right.
A Mudboy is just somebody who came from nothing: you know, who turned nothing into something. You know, when I was in Africa, in the rain, I walk around in, like, mud, you know, the sand would turn to mud, and you are not getting out of that.
When you talk about what you want and why you want it, there's usually less resistance within you than when you talk about what you want and how you're going to get it. When you pose questions you don't have answers for, like how, where, when, who, it sets up a contradictory vibration that slows everything down.
Wes Anderson grew up in Houston, and he and I talk about Manhattan in similar ways, as a kind of fantasy world.
Older people say, 'Oh I loved you in 'Sense and Sensibility,'' and that's the only film they want to talk about. Equally, there are people who only want to talk about 'Galaxy Quest.' And there's a whole bunch of teenagers who only want to talk about 'Dogma.'
Older people say, 'Oh I loved you in 'Sense and Sensibility,' and that's the only film they want to talk about. Equally, there are people who only want to talk about 'Galaxy Quest.' And there's a whole bunch of teenagers who only want to talk about 'Dogma.'
When I talk football with my friends, I don't talk about Tom Brady's hair. I talk about how he handles the blitz, or how he runs his offense. I talk as a fan. I don't want pink jerseys, and I don't want dumbed-down content. I want to be treated as a real fan - because I am proud to be one.
The importance of rehearsal is maybe you want to talk about how the scene's going to be designed, how it's going to be staged, all of those things. It's all about preparation, and deciding what mutually you don't want to do, rather than necessarily what you do.
When I talk about how we're going to pay for education, how we're going to invest in infrastructure, how we're going to get the cost of prescription drugs down, and a lot of the other issues that people talk to me about all the time, I've made it very clear we are going where the money is. We are going to ask the wealthy and corporations to pay their fair share.
I have been so blessed not only to talk about things that I want to talk about in my industry, but also to have a platform - and people want to hear about it. People want the change; people want the difference; people want to know what's going on. People want to see themselves in the industry that for so long has ostracized girls of my size.
Some directors hand over portions of their movie to their head of department to the point where it's like, "I'm not going to talk to you about the costumes, but I'm going to let you talk to the expert." Rather than, "You want to talk stitching, let's talk stitching. You want to talk grade of leather? Let's."
My roommate in college in Austin, Texas, was Wes Anderson. Wes always wanted to be a director. I was an English major in college, and he got us to work on a screenplay together. And then, in working on the screenplay, he wanted my brother, Luke, and me to act in this thing. We did a short film that was kind of a first act of what became Bottle Rocket.
I talk to my kids about my mothers energy and how she would have loved them. I talk about how kind and polite my father was. So that they have some kind of remembrance that even though my parents died from their addictions and so that they know they were genuine in how they were.
Other people can talk about how to expand the destiny of mankind. I just want to talk about how to fix a motorcycle. I think that what I have to say has more lasting value.
Because I'd grown up with this singular focus on sports, I just kind of did that with acting. That became an obsession. How am I going to make it? How am I going to figure that out?
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