A Quote by Soulja Boy
If I'm doing something its coming from a kind heart.
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Different kind of cinema is being created, people are coming up with different kind of scripts, they are able to come up with scripts that work with the audiences and also scripts which will have something to say to the audience, which is a heart-warming thing.
Doing nothing for others is the undoing of one's self. We must be purposely kind and generous, or we miss the best part of existence. The heart that goes out of itself, gets large and full of joy. This is the great secret of the inner life. We do ourselves the most good doing something for others.
Sometimes when you're in the midst of something you don't always appreciate it while you're doing it. Gargoyles was an exception to that. At the time, I knew we were doing something kind of special. Something that might not be repeatable. It turned out to be, professionally.
Sometimes it's easy for things get away from you, a little bit, if you have too many people coming in all the time, trying to put their mark on it. If something is successful, you don't have to do that. All you have to do is keep doing what you're doing, or have been doing.
If I can do it, men can certainly do it. It's interesting now to talk about equality in the home and involving men in household chores such that women don't have to over extend themselves doing both her job and coming home and doing all the household chores. So, that kind of sharing the load is something that I have seen in my family growing up.
I probably get strangers coming up to me two or three times a week to just say something nice. I get more than my share of compliments as I walk through my daily life. I'm not having to show off or make a point about how good I am at doing something. I think I've always kind of been that way.
At the end of the day, 'Shuffle Along' is about people coming together and making something extraordinary - and history not necessarily being kind to them. It's about the love of necessarily being kind to them. It's about the love of doing, regardless of the consequences.
A lot of my friends they call me 'the therapist'. They come to me looking for advice. I must be doing something right because they keep coming back. But I'm not very good at kind of looking into my own world and trying to pick apart what is really wrong and fix those things. I like to kind of shy away from certain issues and turn away.
There are still so many risks to coming out in a conservative society, and I don't think suggesting one way of doing things will work for everybody. I do believe, however, that you can only be happy if you are true to yourself. So taking that first step - of coming out to yourself - that's something I hope every young LGBT person can feel safe doing.
I'd say that that is a challenge, but it also is, again, it's helpful. It's helpful to have the discipline of, okay, I'm doing, I'm doing something that's quite precise over here, working the puppet, and I'm doing something that's very imprecise and creative and unleashed over here, which is the comedy side. And it's kind of nice to allow your brain to be doing those two things at once.
When you're coming up with different ways of getting old memories to transform - you're scratching, you're doing all this kind of sampling - what ends up happening is that you're becoming a kind of writer with sound.
So far, yes, I have been doing only commercial films because those are the kind of films that came my way. Those are the kind of films that I liked, but definitely I'm open to doing other kinds of cinema as well, and if something comes along - if I like a character - then I would definitely do something off-beat or edgy.
Then, you know, the other more-traditional role of the producer in, like, the kind of Quincy Jones sense is kind of part arranger. So you're coming up with, like, these - you hear these songs that are quite bare-bones, and you dream up what's the band doing? What's the rhythm section doing? What's the guitars, strings, pianos - that sort of thing. It's almost like a little toolbox.
So you have the challenge of just learning the lines, period, and not only learning them, but learning them to the extent that you assimilate them, so that you're not worried about what the next word is coming out of your mouth when it comes to doing a scene. And you're also in the trenches with the writers, just in the wonderful kind of back and forth of how is it best to say something, even if it involves four or five words. I love that kind of thing.
Kind of the exhausting thing about doing pure comedy, or something that's broader, is you're kind of a slave to the laugh. If it's not funny, then there's not much point in doing it. The kind of über-objective is to make people laugh. You always have to have that in the back of your mind, "Eh, I've got to figure out a way to make this funny."
Kind of the exhausting thing about doing pure comedy, or something that's broader, is you're kind of a slave to the laugh. If it's not funny, then there's not much point in doing it. The kind of ueber-objective is to make people laugh. You always have to have that in the back of your mind, 'Eh, I've got to figure out a way to make this funny.'
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