A Quote by Joshua Jackson
Part of the beauty of a long-format story is that the characters become as much yours as they are mine, and you dream of them in a different way than I do.
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I rarely return to characters. My characters, at least most of them, are much more a part of that superorganism that is the story than separate and independent creatures.
A dream inspiring a story is different than placing a description of a dream in a story. When you describe a character's dream, it has to be sharper than reality in some way, and more meaningful. It has to somehow speak to plot, character, and all the rest. If you're writing something fantastical, it can be a really deadly choice because your story already has elements that can seem dreamlike.
It has long been a dream of mine that this important story one day would be told on the great American stage of Broadway. In fact, I've dedicated much of the latter half of my life to ensuring the story of the internment is known.
BoJack' is a very much a format-based show. The story should always match the format, but I don't necessarily think the story has to come first.
There's definitely a feeling with a short story that it's pure story telling. You're not really worried about theme. You're not going to stay with the characters long enough to live your life with them. And you have different kinds of relationships with them.
We all become different readers in how we respond to books, why we need them, what we take from them. We become different in the questions that arise as we read, in the answers that we find, in the degree of satisfaction or unease we feel with those answers...In the hands of a different reader, the same story can be a different story.
And I watch my words from a long way off. They are more yours than mine. They climb on my old suffering like ivy.
The Little Friend is a long book. It's also completely different from my first novel: different landscape, different characters, different use of language and diction, different approach to story.
I think people are a mixture of everything. I like desperate characters because they do things that most of us normally wouldn't do. If a character is a scoundrel or a liar you think you know them, but then I can bring some emotion to them and they become much fuller than you ever imagined. So what I try to do is have a story where you don't quite know where it's going, and characters who you don't quite know where they're going.
I really become the characters when I'm writing them. I'll become one or two of them more than others, I'm consistent that way.
Long-format television is a better way to tell a female story.
Plays are wonderfully different than short stories, first because it's a story that's on a stage, but there's a different sort of tension that appears on stage - you get to see your characters in a different way - like with lights.
One half of me is yours, the other half is yours, Mine own, I would say; but if mine, then yours, And so all yours.
You want to find the right balance, but you have to have the Minions because people responded so much to them. We wanted to find a story that would make the Minions more a part of the story than they were in the first movie. In this one, as you know, they're disappearing. What's happening to the Minions? We made them a much bigger part of the movie in those terms.
I don't know your story or your dreams or the things that steal your sleep, but I know they matter. I hope you story is rich with characters, rich with friends and conversation. I hope you know some people who carry you, and I hope you have the honor of carrying them. I hope that there's beauty in your memories, and I hope it doesn't haunt you. And if it does, then I hope there is someone who will walk you through the night and remind you of the promise of the sunrise, that beauty keeps coming, that there are futures worth waiting and fighting for, and that you were made to dream.
A 90-minute time frame is not long enough to tell a good female story, and that's why long-format television has become so great for female storytelling and for female performers and directors and writers.
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