A Quote by Tom Drury
I do get very involved in making a scene work without giving too much thought about how it affects the overall, which I think is hard to know in any case.
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I was very, very concerned about President Obama and how much executive order and how much executive power he tried to exert. But I think I want to be, and I think congress will be, a check on any executive, Republican or Democrat, that tries to grasp too much power. And really, a lot of the fault is not only presidents trying to take too much power, it's Congress giving up too much power.
I think too much is known about me already. I think biographical information can get in the way of the reading experience. The interchange between the reader and the work. For example, I know far too much about Norman Mailer and Kurt Vonnegut. Because I know as much as I do about their personal lives, I can't read their work without this interjecting itself. So if I had it to do over, I'd probably go the way of J.D. Salinger or Thomas Pynchon. And just stay out of it altogether and let all the focus be on the work itself and not on me.
The first time I had work in a public space it felt very strange to see people that I didn't know looking and, and presumably commenting on, my work. Nowadays, I'm a bit more fatalistic - they either like the work or they don't and there's not a lot I can do about that. The trick seems to be not to get too pissed on open nights so that I can answer any questions without making a fool of myself. Doesn't always work!
We lived in a very modest house. My father drove modest cars, we didn't travel, we didn't do any of the things that, were commensurate with the kind of income that he was making. So we got this kind of, double message, which was, y'know, "You work hard and you make as much money as you possibly can, but you don't spend any money." And you see how well I learned that lesson.
I'm much more concerned about what artists think. But as you get older you tend to get much more isolated; you're not out in the bar, having long drunken arguments on the benefits of your work vs. someone else's. It's hard to know how people are looking at it, and you don't get much feedback. The written critical stuff seems to be the feedback, but that's hard to interpret.
It's always great when a director is just supportive of what you're doing. They're not so much critiquing you but giving you more ideas, giving you tons of things to work with, making you question your character and making you think about it... and making it seem like everything is limitless. That usually helps a lot.
It's hard to understand how you arrive at a design. It's far too complicated to get any overall picture of.
We aren't defined by our work. People think if you over-identify with your work, then that must mean you're giving over too much of yourself to it, that there's something wrong with that. We're trained to believe in things like work-life balance. So much work is tending towards service. It's very much about creating experiences rather than products, and it makes those boundaries between life and work very slippery.
For the past few years, I've been more selective than I have any right to be, but I think that's finally starting to work in my favor. I think I get way too much credit for making what people consider to be smart choices, but it's only because I made a decision to stop worrying about making money.
Its always great when a director is just supportive of what youre doing. Theyre not so much critiquing you but giving you more ideas, giving you tons of things to work with, making you question your character and making you think about it... and making it seem like everything is limitless. That usually helps a lot.
We have seen too much defeatism, too much pessimism, too much of a negative approach. The answer is simple: if you want something very badly, you can achieve it. It may take patience, very hard work, a real struggle, and a long time; but it can be done. That much faith is a prerequisite of any undertaking.
I try not to identify too strongly with any of my characters. I like to stand back and see them objectively. I think this is why I often use boys instead of girls, just in case I get too close and lose the overall picture.
I'm trying to write about serious issues, about Iceland's journey into modernity, about the soul of Iceland - on how people react when they get too much money too quickly and how it affects our culture.
I was constantly being told I shouldn't talk so much about how I was feeling. They seemed to think I was giving too much away to my competitors. Showing signs of weakness. But I've always thought that was rubbish.
...when it comes down to making work that really sings, I don't know if I can teach any of it. I don't even know if I can do any of it half the time. It's so much about failure, it's so much about making pictures that are so utterly boring and overstated, you're endlessly disappointed. And in that process you hopefully find something that draws you back and calls to you.
I had this thing about not giving too much of myself away, so I thought, if I sang lyrics, that's giving too much away. You know, I really didn't want to give myself away.
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