A Quote by Stephen Henderson
I always say you don't want to get it right, you want to get it true.
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I think most women, we have intuition. We always know what we always want to find out. We always want to be wrong, and we hate when we're right at the end of the day. People say we love to be right. That's not true. We don't like to be right, because usually we know when it's the truth.
The Sophists had this idea: Forget this idea of what's true or not—what you want to do is rhetoric; you want to be able to persuade the audience and have the audience think you're smart and cool. And Socrates and Plato, basically their whole idea is, "Bullshit. There is such a thing as truth, and it's not all just how to say what you say so that you get a good job or get laid, or whatever it is people think they want.
You have a right to say no. Most of us have very weak and flaccid 'no' muscles. We feel guilty for saying no. We get ostracized and challenged for saying no, so we forget it's our choice. Your 'no' muscle has to be built up to get to a place where you can say, 'I don't care if that's what you want. I don't want that. No.'
I don't want to get good at throwing off schedule because I don't want to be off schedule. I want to have my protections to be solid, I want to be in the right play, and I want to get the ball out of my hands as quick as possible.
I always tell people I want to live to be 150 and they say why would you want to do that. I say, well there's a few people I haven't made mad yet, I want to get them.
When it comes to basketball you always want to put the ball in the hole. You want to get as consistent and get that muscle memory right and be consistent.
When you say 'I want to be an inspiring leader,' the operative phrase is 'I want.' This is inherently me-centered and self serving whether or not you recognise it. What you are really saying is 'I want to get people to do what I would like them to.' Perhaps they don't want to do that. So you have to somehow get them there.
I was always told I was Daddy's little girl. In fact, we owned toy stores, and I would run in and want to get the latest toy off the shelf. My mom would say no way, and my dad would say, 'Get whatever you want, baby.'
I get a lot of action scripts. I get low-budget vehicles that will end up right on the video shelf. I want to do movies that I want to talk about, that I'm proud of, but I also want to make a living.
I have to be honest and say that I never really feel like there's one person that I really want to cook for. I just want my food to always get better and always be evolving and for there to always be movement in what I make. I would say I strive for that more than anything else.
Normally, I tend to be a very binary filmmaker. You give me a problem and a destination and I say, "All right. If you want to get from here to here, there's a series of if/then's that will get you there. And if you have other stuff you want to do along the way, I'll give you all the if/then's that are caused by that."
If I'm writing a song for Karen Harding, I know I can't impose what I want to say onto her. I literally have to get into her headspace and think, 'what does she want to say?' When it comes to my stuff, it's the same. What can I write that's true to me?
I interview these people all the time who come to my office and say, "I want to be a fashion designer." I tell them where they should start, and they say, "I don't want to do that. I don't want to get anyone coffee." Don't they know it is great to get people coffee?
My novels are never directly based on a true crime incident, but I want to get the details right. I want to know how homicide detectives think, what a SWAT team might do to prepare.
I think I'm drawn to more villain-type characters, because it's so cool to get to say all the things you want to say. In Hollywood, you get to this position where you have to bite your tongue so much. You take all your experiences of not being able to say what you really want to say, and channel that through your character.
You get to use everything you learned in movie business. You talk to actors, if you do it right - and I haven't always done it right - you should be shaping the material all the time. And the other thing is, you get all the blame when you direct and it doesn't work. You get slammed. So that's another reason to know what you're making, why you're making it, and make it the way you want.
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