A Quote by Steve Garvey
I always thought of my career as a body of work and not just about numbers.
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For me, I don't talk about numbers. I've had big contracts my whole career; I just don't like talking about numbers if they're real or not real... whatever offers I've had, I always keep it private.
I see myself as a career professional wrestler. The end goal wasn't always to go to Raw or SmackDown, it was just to create a body of work that I'm proud of.
You know, you kinda think you're gonna have to work for twenty years before you get to work with Meryl Streep. So getting to work with her... I almost feel like I didn't pay enough dues, it was pretty incredible. I always thought I'd work with her, I just didn't think it would happen at this point in my career.
It felt really radically uncomfortable. And I was really not sure at first about releasing that body of work. But then the more I thought about it, the more I thought that that position, that location, is something that's just sort of interesting in its own right, as an experience, as a process. Again, we're talking about this rubric, this set of rules, this grid that I toss on top of different locations globally. This is what came out of Africa.
Well can I just make a point about the numbers because people talk a lot about police numbers as if police numbers are the holy grail. But actually what matters is what those police are doing. It's about how those police are deployed.
Lena Dunham or Miranda July, those people are sort of thinking about their work in a slightly different way than I do, where their whole body is a seed of what they're creating. I can't imagine watching Miranda's movies with anybody else playing her role, she's so integral. But for me, it feels more like every story is really individual. If I thought of something else, or thought it should be my body representing it, I'd fold my body into it. But most of the time I'm writing to get something out of my body.
Whenever we think of the body as a vessel for artistic ideas, we somehow always focus on the surface of the body. But the truth is that there is no surface of the body independent of its interior. It's obvious that the outside of the body is always connected to the inside, to thought processes and to an internal anatomy.
You can play professional lacrosse, but they make less than a teacher's salary now. I always thought about that. And it's a very difficult career, a short career, as a pro athlete.
I always thought that farts were funny, and I always thought that they were mine to talk about because they came out of my body.
I've thought about my relationship to my body, my body dysmorphia, and what that means as someone who's like, 'Oh, I'm going to be on camera.' Sometimes it makes my body dysmorphia worse, but I've also tried to not let my mental illness rob the joy of getting to do something I've always wanted to do.
The work is more than just about the amplification of survivors and quantifying their numbers. The work is really about survivors talking to each other and saying, 'I see you. I support you. I get it.'
Halfway through Numbers, I got really jaded, and I had these unrealistic expectations about what Numbers could be. I thought it should be Emmy-nominated. I was in my mid-20s, so I was kind of shortsighted and silly.
My brain doesn't work very well, in terms of mathematics. I'm not one of those people who can just spout off numbers for things, if numbers are thrown at me.
Reading the script for 'Jennifer's Body,' I just thought that here was a script that really exposes the horror between girls and friendships. I always sort of approached the film with that in mind first, and then thought about the crazy ways that that horror would express itself.
I never really thought about what kind of career I wanted to map out for myself. I just wanted to do work that spoke to my heart. 'Atlanta' definitely did that.
I woke up one day and thought: I want to write a book about the history of my body. I could justify talking about my mother because it was in her body that my body began.
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