A Quote by Yorgos Lanthimos
I work very closely with my co-writer, Efthimis Filippou. Ideas either start from him or me, and then the other one develops it, and it's a constant conversation.
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[My work] just develops and develops, and I'm very nicely served by the universe: just as I'm ready to take the conversation further with myself, some other individual pops up, like David McKenzie did, with this idea of making this film [Teknolust], and provides exactly the leap to the next adventure.
To believe in God starts with a conclusion about Him, develops into confidence in Him, and then matures into a conversation with Him.
In the case of, like, Childish Gambino, he is someone who is a writer by trade, so he is very meticulous about how he writes his ideas. I don't do this with a lot of artist, but he would give me a treatment that he wants to do, and I'll go off that; then I'll give him feedback and pitch him my ideas.
I love Jon Hamm. I'm so lucky to get to work with him and work so closely with him. We have a lot of these scenes that are very intimate, and very tender. Those are the kind of things that an actor lives for. Real moments of connection with other actors.
I'm a constant idiot in conversation - I always seem to sound either smug or stupid. Writing plays was a way of winning the conversation by controlling the conversation.
With every song, all the elements have to work. First, the beat has to be great - you start there. You start with the music, and then the ideas follow. Then you start thinking of rhymes, and then you record it, and sometimes - this happens to me a lot - it doesn't come out as good as it did in my head when I first wrote it.
I know very dimly when I start what's going to happen. I just have a very general idea, and then the thing develops as I write.
I work out most days, normally first thing, and then I just see where the day takes me. I recipe test most days, do lots of social media and emails, but nothing else is constant. Some days, I film YouTube videos; other days, I have lots of meetings, work on blog posts, brainstorm ideas, and work on upcoming projects.
I don't have the story finished and ready when we start work on a film. I usually don't have the time. So the story develops when I start drawing storyboards. I never know where the story will go but I just keeping working on the film as it develops. It's a dangerous way to make an animation film and I would like it to be different, but unfortunately, that's the way I work and everyone else is kind of forced to subject themselves to it.
The act of writing surprises me all the time. A miraculous thing happens when you have an idea and you want to convert it into words... and then you start to create a work of art, and that's another miracle, and it remains mysterious to the writer, or to this writer anyway.
Constant work, constant writing and constant revision. The real writer learns nothing from life. He is more like an oyster or a sponge. What he takes in he takes in normally the way any person takes in experience. But it is what is done with it in his mind, if he is a real writer, that makes his art.
Bill Shorten should - either knows that or at least he should know it and for him to change the conversation by proposing - by suggesting a proposal significantly more adventurous than where the conversation has been up until now was a very unhelpful intervention.
For me, a writer should be more like a lighthouse keeper, just out there by himself. He shouldn't get his ideas from other people all around him.
If a writer understands his work as something that originates with him but then, with any luck, gets away from him, then what he needs is someone who can grasp the potential of the piece and lead him to that higher ground.
To me the only real star of the movie is the writer. And I work with writers very closely, from outline to first draft and on to the seventh draft, whatever it takes. Then my job is to support the director to make the best movie we can. Some producers try to go past them, but my job is to support them.
There is no living African writer who has not had to, or will not have to, contend with Achebe's work. We are either resisting him - stylistically, politically, or culturally - or we are writing toward him.
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