A Quote by Vincente Minnelli
No, I only like whether I like the story or not, essentially see something in it that isn't completely there.
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When I see a story, I ask: is this something I'd like to be in? Is this something I'd like to see? And if I'd like to see it, would I like to tell it?
I'm pretty much a dinosaur in the studio. I like things hand-drawn, even today. The story artists use Cintiqs, but I'm the only person who hasn't completely converted to computers. I like the Cintiq, but there's something about the raw emotional power of using paper and pencil.
Usually, when I read something, I'm looking for the story first. And then, when I re-read it, I check every part of it to see whether every scene is necessary. You imagine yourself watching the movie, to see whether or not you're losing the through-line of the story.
I would like to play some character that's somewhat dramatic. I don't see myself ever becoming that serious, or it sounds weird, but I don't see myself doing something that's really dramatic but somewhat dramatic. I would like to do something that's more real and doesn't have to be laugh out loud funny. I always like whatever I'm involved in... whether it be funny or whether it be somewhat like... I'm not gonna try to get people to really cry.
I always believe that every song tells a story, so the last thing I want to do is edit out like the meat of the story. I would pick songs based off a), whether I felt like I could do anything with them, and b) whether I felt like I could keep the story intact. And then you sit in with one of the piano players and one of the vocal coaches and kind of work out your arrangements that way.
I'm always willing to help out when people have stories and they bring them to me. I also like the completely fun films like 'Patti Cake$.' My taste is, if it feels like it's something I'd like to see, then I'll get behind it.
The only thing worth thinking about, when I write a story, is whether I like it, whether I want to write it, whether it excites me.
I'm always looking for what's something that Bradley Whitford's character can say that is completely outrageous and completely wrong, but in a double-reverse way is actually totally right. I don't really like where there's a story and you lay a few jokes on top of it.
I guess you just feel like there's a whole story that's not being told in movies. You're only seeing the macho guy version of a story that from the woman's side, may be completely different.
I like picking up accessories as and when I see something I like - whether its from my travels on the streets of a foreign country or more mainstream labels like Accessorize.
Independent films are very hard to get made, but I'm lucky enough to get them made, so I'm going to keep doing it. I like my independence. I like being able to tell a story the way I want to tell a story. I don't like developing it with a team. I like coming to a story and deciding whether I want to do it or not.
No matter how good a story is, if you're at a newsstand and you see a lot of comic books, you don't know how good the story is unless you read it. But you can spot the artwork instantly, and you know whether you like the artwork, whether it grabs you or not.
If you have to become a filmmaker, find a story that takes you away, and tell that story. Don't think about whether it's going to sell, or whether it's going to make money, or whether it's going to appeal to distributors. Do something from the heart that really matters, and then you'll do something good.
A lie was something you told because you were mean or a coward. A story was something you made up out of something that might have happened. Only you didn't tell it like it was, you told it like you thought it should have been.
I think that its an artist's responsibility to have a point of view. Society takes its cue from popular art. People need something to look to, something to provoke them into questioning whether they completely hate something or completely love something.
I find the strongest predictor of people who do well at Shopify is whether they see opportunity as something to compete for, or do they see opportunity as essentially everywhere and unlimited? It's a rough proxy for pessimism and optimism.
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