A Quote by Sue Monk Kidd
Giving voice to marginalised characters is extremely important to me. I want to explore the pain of disenfranchisement, the social strata and boundaries we create and how to make them more permeable.
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What interests Sam Mendes are characters and relationships, and he was a genius at giving you the freedom to create the type of character you want, and also to explore and have fun with your fellow actors. For him, characters and relationships are really the heartbeat of the film, and then the action is the backdrop. By developing the characters, he makes you care that much more about the action and going on a journey with the characters.
We are all different human beings, and we all have different backgrounds, and we stem from different social strata. That is what defines how you hear people talk, how you want to quote them when you speak. We all have different fears and doubts and complexes and this is what shapes the way we see other people. Especially characters.
Connection is very important. It's extremely important for me to be connected and sharing with other people, giving them what I feel is important.
The struggle to create a nation and world of economic and social justice and environmental sanity is not an easy one. The struggle to try and create a more peaceful world will be extremely difficult. But this I know: despair is not an option if we care about our kids and grandchildren. Giving up is not an option if we want to prevent irreparable harm to our planet.
Everything has boundaries. the same holds true with thought. you shouldn't fear boundaries, but you also should not be afraid of destroying them. that's what is most important if you want to be free: respect for and exasperation with boundaries. what's really important in life is always the things that are secondary.
I'm naturally shy, so the social media thing is new to me. I haven't really figured out how my voice sounds on social media, you know? I don't want to tweet everyday just for the sake of tweeting. I want to make sure whatever I do there is honest. Social media can very quickly get fake, and I don't want to be that guy.
It's important that I work with people where they know why they're hiring me and that they're looking to create art without fear. Anyone who uses those excuses to not cast people or to create extremely stereotypical characters, they're creating out of fear, and to me that's really boring.
That's what's great about the Batman universe. When you explore Gotham, when you explore the villains, all of them point to this one character. This iconic American symbol for how we deal with pain and loss and how we move forward after it.
For me, I guess the general reason for using social media is that the connection I have with people who are interested in my music is extremely important to me. That connection is like the pillar in everything I do. I want to embrace that connection and make it stronger.
When I read to children, I try to become the characters. It's great if you can make a separate voice for each character. Sometimes you can lower your voice with excitement or get more intimate about it: you can lean forward and engage the children as a narrator or as a reader. It's particularly important that you find the voice that you want to use for each character, because then children can imagine that person as you're reading aloud. And of course, the illustrations help enormously.
There's something extremely rewarding about following characters that you like and knowing that there's as many hours of viewing as you have the appetite for. You can tell more complex stories; you can create more complex characters in the longer form.
The genesis of Public Interest Litigation in listening to the voice of the voiceless and giving access to the poor, the marginalised, and the weak is a unique experiment to be lauded.
I don't really pity any of my characters. I hold my characters under a harsh fluorescent lamp and ask "Who are you?" I'm not doing their makeup or giving them hairdos. They present themselves to me as they are and then I let them say what they want. Usually they're saying something too honest.
I've never conceptualized much of what I write about. Maybe, once I'm onto something, I'll conceptualize a finished record. I want the songs to tie together and make sense together. I'm not like, "Oh, I want to explore this idea." That's just not how the creative process works for me. It's more like something strikes me, or finds me, and then I wrestle with it after that. I don't sit back in my armchair, like, "What kind of philosophy can I explore today?"
I believe that if the story is fleshed out and the characters more believable, the reader is more likely to take the journey with them. In addition, the plot can be more complex. My characters are very real to me, and I want each of my characters to be different.
I don't know if it's a sadistic side or whatever, but you take characters and put them in really awful situations and make them go through that. And it's very satisfying as a director to explore that, to tell those stories and to explore those themes, because it is so human.
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