A Quote by Jim Toomey
Sometimes making a story is as easy as putting two characters in a room and seeing what happens. So, imagine a great white shark and a giant squid in the same bathroom.
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Squid experts have been debating for some time about whether the giant squid is a passive predator that just floats around in the water and waits to bump into something. I was never one to imagine it to be passive.
Werewolves were far more terrifying than vampires. It is probably the idea of seeing the human within the beast and knowing you can't reach it. It might as well be a great white shark. There is no sitting down and discussing Proust with it, which the traditional vampire model seems to leave room for. You can have a conversation.
I'd like to see the giant squid. Nobody has ever seen one. I could tell you people who have spent thousands and thousands of pounds trying to see giant squid. I mean, we know they exist because we have seen dead ones. But I have never seen a living one. Nor has anybody else.
I am as interested in seeing what happens to my characters as any reader; that is why I tell kids that writers write for the same reason readers read - to find out the end of the story.
I don’t have a theoretical language for music. I’m really inspired by sculpture, so I like to say, ‘you’re not making music, you’re creating a space. You’re building a room, putting some objects in it, and seeing what happens to the objects over time.’
With the films, it starts off with certain coordinates in the world and seeing what happens. What happens if you place yourself at an oil refinery in the Middle East? What happens if you place yourself in the White House Cabinet Room? What happens if you place yourself with Brad Pitt on the set of a film? And so on. And no matter what I capture, there is a sense of déjà vu to it, like you might have come across this visual before.
I discovered I scream the same way whether I'm about to be devoured by a great white shark or if a piece of seaweed touches my foot.
It's this simple law, which every writer knows, of taking two opposites and putting them in a room together. I love anything with Cartman and Butters at the same time, it's great.
It's necessary to track characters all the way through an opera. If you're dealing with more than one or two characters, it's very easy to forget that the others have lives of their own that feed into the story.
Sometimes the beauty is easy. Sometimes you don't have to try at all. Sometimes you can hear the wind blow in a handshake. Sometimes there's poetry written right on the bathroom wall.
Going from 'Shark Night' to 'Piranha,' a guy holding a fish on a stick in front of you that they're going to replace in post-production, it's a lot different than seeing this animatronic shark that, if you get caught up in the moment, looks, acts and you sometimes think could be real.
It's because films like 'Selma' are so rarely made that we end up putting them under the microscope. One, maybe two, a year. As a white person, you don't have that. You have the gamut. No one says to Oliver Stone, 'Another film about Vietnam? White characters again?'
It's the same old story. Nothing in this world happens unless white folks says it happens. And therein lies the problem of being a professional black storyteller - writer, musician, filmmaker.
A lot of the challenge with TV, as opposed to making movies, is that you have to leave room for the characters in the story to tell themselves. Sometimes you don't know where a character is going to go and what's going to happen to them until you've seen the actor take that part and make it their own.
A lot of what you're seeing these characters go through is something that either is a story one of the actors told in the writers' room or one of the writers themselves told in the writers' room.
Often we eat squid fried, so it's fun to grill it for a change. To grill squid, slice the cleaned bodies open into two flat pieces and thread them, along with the tentacles, onto skewers, then grill quickly over a direct fire with the coals as close as possible to the grate, turning the squid several times.
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