A Quote by Gilbert Hernandez
In the old days, I just could not leave characters alone. Now I just try to keep the ones that still have something in the way of stories to tell.
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The hardest lesson to learn always is to just have faith in that you will always have something to say or a story to tell. I have faith that I'll be able to continue to tell stories, write and tell stories. You just need to keep going at it.
I just try to tell my stories in a way that is still light-hearted and fun to listen to. I'm not trying to bash you over the head with what I have to say.
There was all this enthusiasm about amateurism and the idea that people could now just make videos in their bedroom, or blog news stories and share it online, and isn't this great? Now we can do it just for the love of it and not try to be professionals, corrupted by careerism.
You're always trying to do something that, on one hand, honors all those stories, that is still in some way the same character that Stan Lee and Jack Kirby were doing back in the sixties. But, at the same time, you want to be able to tell new stories and not just rehash what's come before.
Bruce [Dern] and I are in this car just for days and days, just talking about life and I could listen to his stories forever.
I just try to try to keep an attitude that I don't know what I'm doing. Not to the point where I'm beating myself up, but I just go in thinking that I have a lot to learn. And I hope I still have that attitude 30 years from now.
I love the smell of a theater. The old rooms and the carpet and all that stuff. I love to tell stories. Even before I was doing music, I saw myself as a director. So most of my songs come in a play form, you know, where there are characters and stories, so I like to go beyond just the song sometimes.
I just want to tell stories that are meaningful and have inspiration to them; people can watch it and take away something or maybe they'll just think about themselves differently, or thing about the world differently. I just want to create characters that live on.
I love it when characters surprise you, just like real people. When I write a scene I just try to make the characters behave in a way that feels natural to them. Sometimes that means they make a left turn and do something unexpected. Those are always the best scenes in my opinion.
I think you can see the evolution of me as an artist, and just becoming confident and coming into my own and becoming my own person throughout each mixtape. One thing I could learn from looking back at my old mixtapes, what I could learn from my old self, is just to keep that hunger and that drive and that feeling of an underdog and also the feeling of being a fan, still lookin up to people - you just want to impress them.
I notice a lot of younger artists have difficulty telling stories. They might have short stories where they express themselves well, but they don't really know how to tell stories with characters. That craft just passed them by.
When we die, these are the stories still on our lips. The stories we’ll only tell strangers, someplace private in the padded cell of midnight. These important stories, we rehearse them for years in our head but never tell. These stories are ghosts, bringing people back from the dead. Just for a moment. For a visit. Every story is a ghost.
I just have this thing in my head that I want to do serious stories that are still just way too cute and drawn in a really cute, appealing, rounded, childish way, and it's like, I don't know if it makes sense - but it's just something I'm really strongly compelled to do.
The NBA is the best league in the world. It's no way you're going to be able to fill the void that the energy of performing before 20,000 people every night gives you. That's just impossible. So, I just try and move on from that and let it be a moment in time and leave it alone.
I just want to tell stories that are meaningful and have inspiration to them; people can watch it and take away something, or maybe they'll just think about themselves differently or think about the world differently. I just want to create characters that live on.
The reason I feel bad for Steve Kloves is because he doesn't enjoy cutting things out. He's not sitting there with scissors, just laughing maniacally, going, "Ahahaha." He doesn't like doing it. The stories mean so much to him. But it had to go. And David kept saying, "We're gonna try, we're gonna try, we're gonna try" all the way into the shoot until the very last days, when he said, "Sorry, it's just not gonna work."
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