A Quote by Veena Sud
I've always been kind of drawn to the extremities of human nature. I wrote my first screenplay when I was 16. The initial idea was a friendship between two prostitutes, and I spent time with a vice squad guy in Cincinnati who brought me to a brothel and gave me the rundown on how street prostitution works.
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Prostitution thrives in the United States. We focus in this country on punishing the girls. For every brothel owner or pimp or male customer, there are 50 girls who are arrested for being prostitutes. Other countries have tried the other way around, and it works beautifully...they bring the charges against the brothel owners and the pimps and the male customers, and they do not prosecute the girls, who quite often are brought into that trade involuntarily. It works quite well, by the way.
Never take no for an answer. It took me 20 years between the time I wrote my first screenplay and the time I actually got money to direct a movie.
I've always been fascinated with prostitution. I looked it up in the dictionary as a child, and I remember hearing that Jesus would hang out with prostitutes. I would always focus on the prostitutes.
I have always gone to nature, since I was a kid. I was brought up in the woods, I did not have lots of friends, so I spent lot of time alone. My mother always loved to live in the forest; she loved gardens, birds and nature and taught me a deep respect for that. She taught me about growing food and vegetables and to take care of animals. They also have feelings. So nature was always something sacred for me, the place I can go, meditate and pray. It's like a church in the nature for me.
Right when I moved to L.A., I started writing. I wrote some screenplay. I'm sure it's terrible. But I wrote a screenplay by myself. When I first moved to L.A., I had no friends. I didn't know anybody. I just sat in a little studio apartment, and I wrote a screenplay.
Relationships, it seems to me, are timeless. What works between two people always works; what doesn't is always troublesome. Over time, people learn - or not - how to negotiate what's difficult, but that doesn't mean the misfit has gone away entirely.
I wrote 'Yellow Submarine' for the Beatles. I wrote the screenplay for 'The Games,' about the Olympic Games. I wrote 'Love Story,' both the novel and the screenplay. I wrote 'RPM' for Stanley Kramer. Plus, I wrote two scholarly books and a 400-page translation from the Latin, and I dated June Wilkinson!
That's what we were interested in: how power and money ran itself, much more so than 'drugs are bad, drugs are good.' That seems to me a simple moral equation and one you don't have to spend 60 hours of television examining. And I think the same thing is true with how we approached pornography or prostitution. Prostitution's been around since the Bible, and pornography's been around since about 15 minutes after the French guy invented the first camera.
Do you think it interests me that this painting represents two figures? These two figures existed, they exist no more. The sight of them gave me an initial emotion, little by little their real presence grew indistinct they became a fiction for me, then they disappeared, or rather, were turned into problems of all kinds. For me they are no longer two figures but shapes and colours, don't misunderstand me, shapes and colours, though, that sum up the idea of the two figures and preserve the vibration of their existence.
Pitbull is, like, one of the most incredible humans. He's an amazing guy, and when we first connected on 'Fireball,' he said, 'I love it!' He recorded the verse in a day, we mixed it the next day, and it was on the radio in like two weeks after we made the initial track. That's just how he works. He's so hard working, kind, and really appreciative.
I spent about five years stuck in a room between the ages of 16 and 20 while I wrote the first book, which came out when I was 21. I should have been out playing tennis.
First, there has been a lot of interest in The Drive-in, but, alas, it hasn't actually come to fruition. Maybe soon. Don really got Bubba and I didn't think it could be a film. I thought it was too odd to make it to film. He asked me to do the screenplay, but I declined. I didn't see that it could be a screenplay but he wrote one and proved me wrong. He was always considerate about what I thought about the film and the story's presentation, but in the end, he's the director and he had to make decisions. All good ones.
'Rent' was a special project for me. It was my first notable screenplay job. I worked with two wonderful directors on it, starting with Spike Lee in the summer of 2001. I wrote a draft for Spike and he was really good to me.
The first two songs that I wrote, produced and demoed with my voice on it was that song and then Akon's "Sorry, Blame It On Me." The first two demos I ever wrote and demoed, the two biggest artists at the time took them.
I was not really worried about what people thought of me or how offensive my jokes were. I was just kind of saying whatever I wanted, and that gave me the reputation of being this crazy, loose cannon, you know, psycho guy. It still kind haunts me to this day. Like, 'Oh, Shane Dawson - that guy's nuts.'
Teaching and editing have helped me enormously, and brought wonderful people into my life. When I see an author I'm editing struggling to bring a flash of an idea to the page, or notice a student's hands shaking as they read something they wrote out loud for the first time, it keeps things in perspective. How vulnerable we all are. How hard it can be to open the door.
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