If you had a daily printout from the brain of an average twenty-four-year-old male, it would probably go like this: sex, need coffee, sex, traffic, sex, sex, what an asshole, sex, ham sandwich, sex, sex, etc
In your thirties, you're much more comfortable with sex. First of all, sex is something you've done more. You know you can have sex just to have sex; you can have sex with friends; you can have sex with people you love; you can have sex with people you don't like, but the sex is good. And you can joke about sex much more.
It is good that in our TV industry, stories revolve around female characters more than male characters but there should be no sex war.
I don't think you make fans happy by just replicating frames. What they want to see is that you stayed true to the story, true to the characters and true to the design.
I have even taught classes on writing about sex, and I've looked closely at different writers' sex scenes. On the level of craft I've given it a lot of thought. The pitfalls are simple: It can sound clinical or medical, which isn't right, or pornographic, because the characters disappear.
I try to be true to the characters that I've created and sometimes I disagree with them, but their opinions about the story and the characters really matter to me.
'True Blood' differs from 'Six Feet Under' in that there are way more characters and plot-lines, but fundamentally it's still about the characters and their emotions.
The trite answer is that everything is true but none of it happened. It is emotionally true, but the events, the plotting, the narrative, isn't true of my life, though I've experienced most of the emotions experienced by the characters in the play.
I consider that sex is part of life as much as architecture, fashion, art or food. Sex is life, simple. And I refuse to consider that sex should be hidden. When you hide sex, problems start because sex becomes dangerous.
In sex we have the source of man's true connection with the cosmos and of his servile dependence. The categories of sex, male and female, are cosmic categories, not merely anthropological categories.
For there is no sex. There is but sex that is oppressed and sex that oppresses. It is oppression that creates sex and not the contrary.
It's true that the French have a certain obsession with sex, but it's a particularly adult obsession. France is the thriftiest of all nations; to a Frenchman sex provides the most economical way to have fun. The French are a logical race.
I have always liked kind of outsider characters. In the movies I grew up liking, you had more complicated characters. I don't mean that in a way that makes us better or anything. I just seem to like characters who don't really fit into. You always hear that from the studio: "You have to be able to root for them, they have to be likeable, and the audience has to be able to see themselves in the characters." I feel that's not necessarily true. As long as the character has some type of goal or outlook on the world, or perspective, you can follow that story.
To me, truth is the big thing. Constantly you're writing something and you get to a place where your characters could go this way or that and I just can't lie. The characters have gotta be true to themselves.
I was groomed as a so-called sex symbol, a rival to Marilyn Monroe, and from then on, whenever my picture appeared in paper, it was 'sex kitten,' 'sex symbol,' 'sex goddess,' 'sex pot.' I've accepted it, and I'm flattered, but in some ways, it's been a hindrance to me because I haven't been able to be taken seriously as an actress.
I think I'm doing a service to black women by portraying myself as a sex machine. I mean, what's wrong with being a sex machine, darling? Sex is large, sex is life, sex is as large as life, so it appeals to anyone that's living, or rather it should.