A Quote by Travis Beacham
I think, in general, as a writer, you can't really hide your values. They're always going to fall out onto the page, and I tend to trust that I don't have to force my ideals into the expression of what's going to happen naturally.
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One of the things that really impressed me about Anna Karenina when I first read it was how Tolstoy sets you up to expect certain things to happen - and they don't. Everything is set up for you to think Anna is going to die in childbirth. She dreams it's going to happen, the doctor, Vronsky and Karenin think it's going to happen, and it's what should happen to an adulteress by the rules of a nineteenth-century novel. But then it doesn't happen. It's so fascinating to be left in that space, in a kind of free fall, where you have no idea what's going to happen.
You're always just one punch away from getting hurt. But look, if it's going to happen, it's going to happen. I think I'm going to walk out of this sport of boxing when I think it's the right time.
You're not always going to hit the bull's-eye. I'm going to make movies that work and I'm going to make movies that don't work, and that's just a part of being creative. Because really, I think if you're taking risks and you're pushing yourself and you're doing things that scare you, you are going to fall on your face, and it's not always going to work.
It's good to know the guy who's holding onto your wire is someone you trust and you know he's not going to let you fall.
Having my dad play for the Falcons, what it did was really to expose me to a whole bunch of other elite-level athletes, which I think gives me an advantage and allowed me to understand what goes into sports. It is more than going out onto the field and going out onto the ice and competing.
If you fall-and trust me, you will- make sure you fall on your back. Because if you fall on your back, you can see up. And if you can see up, you can get up. And you can keep going and going and going.
Listen she said, everything ends, every single relationship you will ever have in your lifetime is going to end.... I'll die, you'll die, you'll get tired of each other. You don't always know how it's going to happen, but it is always going to happen. So stop trying to make everything permanent, it doesn't work. I want you to go out there and find some nice man you have no intention of spending the rest of your life with. You can be very, very happy with people you aren't going to marry.
I think people sometimes get the wrong impression when they're like, Oh, well, so-and-so was straight and then she was gay, and now she's straight again, you know? But it's like, how many times do I have to kiss a woman before I'm gay? Everybody wants to label people. Sometimes you just fall in love with somebody, and you're really not thinking about what gender or whatever they happen to be. It think that if I happen to fall in love with a woman, everyone's going to make a big deal out of it. But if I happen to fall in love with a man, nobody cares.
I work sometimes from outlines, which are immediately abandoned. Sometimes, when I'm trying to find the characters, I'll sketch things out a bit. Sometimes, outlines help me aim a little bit, but I tend to find it's usually much more interesting, especially with the first draft, to spew it onto the page. I used to get very nervous that, if I write this first rough draft and I die that night, whoever finds it might think that I thought it was good. For me, it's much more important to get some general shape onto the page and later take all the time I need to refine it, fix it, and rewrite it.
The way that I look at it is that, when we film for eight months straight for a new 'Jackass' movie, I know that I'm going to wind up with at least two broken bones. I don't know when it's going to happen, but you can't contemplate how you're going to fall and what's going to happen.
I enjoy writing about people falling in love, probably because I think the first time you fall in love is the first time that you have to figure out how you're going to orient your life. What are you going to value? What's going to be most important to you? And I think that's really interesting to write about.
I always think that the writer is doing the vast majority of the director's work, in a sense. If you're a writer who is also going to direct, you're doing all your preparation: You're already visualizing everything, you're imagining how the lines are going to be read, you see the blocking in your head, and you know the rhythm and the pacing.
You have to be very flexible and understand as a director, especially as a writer/director, that you cannot hang onto stuff really hard. You have to be ready to accept those happy accidents and to anticipate that they are going to happen and capitalize on them.
There are people who haven't faced the reality of what has gone on in Iraq. They still think that the old central state is going to be put back together again. It's not going to happen in Kurdistan. It's not going to happen in the south. It's not going to happen in Baghdad.
If you're consumed only with the big dream, you're going to die because you won't be able to feed yourself or you're going to be losing your job, so you'll just be sitting in your room dreaming, but if you're only holding onto the crap jobs that keep you just above of the water you're going to be unhappy. You're going to be burnt out, washed out.
So, tomorrow, I’m leaving. And I’m not going to let that happen again with anyone else. I’m going to do what I want to do. I’m going to be who I really am. And I’m going to figure out what that is.
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