A Quote by Zawe Ashton
I do always try and do work that I'm going to be interested in talking about when it's released.
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Yes, I, well, when I write, as often as I can, I try to write as if I'm talking to people. It doesn't always work, and one shouldn't always try it, but I try and write as if I am talking, and trying to engage the reader in conversation.
I always think about visual comedy. I was raised watching silents, and I'm always thinking about how to make cinema, not good talking - although I want good talking. I'm much more interested in framing, composition, and orchestration of bodies in space, and so forth. My goal is always what Chuck Jones wanted his Warner Brothers cartoons to be, which was if you turn down the sound, you could still tell what's going on.
I think a lot of people make a big misstep when they assume what an artist is going to be interested in, so I try to just take that out of the equation and make sure whenever I'm talking to people about their music, I'm getting all my context clues from that - and then we go to work.
Eating, bathing, going to the toilet, talking, thinking, and many other activities related to the body are all work. How is it that the performance of one particular act is alone (considered) work? To be still is to be always engaged in work. To be silent is to be always talking.
Not harder than it should be, no. We're about the business, we're about the work. It's all about the work, always. We have fun and laugh and there're days that are more intense than others, but we're there to make it better. He's always going to try and make it better, I'm always going to try and make it better. So you accept anything, you accept whatever it takes to get it up on the screen and make it worthy.
I'm tired of talking about where we've been. I'm more interested in talking about where we're going.
I don't think so much about verbal comedy. I always think about visual comedy. I was raised watching silents, and I'm always thinking about how to make cinema, not good talking - although I want good talking. I'm much more interested in framing, composition, and orchestration of bodies in space, and so forth. My goal is always what Chuck Jones wanted his Warner Brothers cartoons to be, which was if you turn down the sound, you could still tell what's going on. I think if you watch most of my films with the sound off, you could still tell what's going on.
I want to be fair here. If we're going to be talking about transparency and disclosure, Donald Trump has not released a single piece of serious information about his health.
Harry Reid was talking about soup lines, and Hillary Clinton was talking about the economy being on the verge of collapse. Yet, in the same breath, they say that Social Security is rock solid, and there's no crisis there. How are you going to work-you said you're going to reach out to these people-how are you going to work with people who seem to have divorced themselves from reality?
I'm single and loving it. It is always weird talking about that stuff. When someone is talking about who they are going out with, I am always like, who cares? Talk about your music or something.
I'm more interested in talking about what I do. And I don't think people are interested in my personal life. I've never had a Hollywood life. I've always been a worker. But it's true: If you know something about a person outside of the movie that is really repulsive to you, it's hard to shake. So I prefer to do my speaking through the work. I don't want people to know anything about me, because that's not important. I'm more interested in the me that takes shape through these characters. The other stuff is personal and too easy to trivialize out of context.
The thing is, to try to talk about a performance that will never be seen again, that was only lived by the people there, it's kind of like telling somebody about your dream. You know if they love you they'll listen and smile, but they can't really get it, so there is a certain infinite quality to film that is nice. You do the work and you know it's always going to be there. The flip side is if you do bad work it's always going to be there.
I've tried to get better about weighing what I think the accessibility of an idea is against the cost of executing it. I've tried to be smarter about that, because if you're not smart about that, you're going to be unemployed. But I'm still mystified about what works for people. And I'm not talking about my movies, I'm talking in general. I'm mystified by the stuff that doesn't work. I'm mystified by what's going on in the critical side, too.
I don't think so much about verbal comedy. I always think about visual comedy. I was raised watching silents, and I'm always thinking about how to make cinema, not good talking - although I want good talking. I'm much more interested in framing, composition, and orchestration of bodies in space, and so forth.
People always try to palm me weed when I'm always talking about how I don't smoke weed. But they always try to ... and when they stop offering me weed, then I'm going to feel kind of out of touch, like: "What did I do wrong that you won't offer me drugs that I don't do?" Because I'll trade those drugs out for drugs that I do do.
The way that I work is that I try to work in metaphors, and you can't write a metaphor unless you know where you're going, so I always think about the future.
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