A Quote by Mike Colter
The writers are very good about misdirection and changeups, and that's what's great about it. We always think we know what's going to happen and then they throw a curveball that you don't see coming.
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I think it's important for people to know that bad things do happen to good people and that life can throw a serious curveball at even the most cautious and "prepared" people out there.
I think about the structure, sure. I think about what's going to happen, and how it's going to happen, and the pace. But I think if I stop to think about it in an abstract sense, I feel very daunted. I just try to enter into the story and feel my way through it. It's a very murky, intuitive way of going about it.
I was 11 years old and have the same curveball I have now. So I was literally striking everybody out. I always threw hard, and I was bigger than all the kids, so I would throw hard and throw that curveball, and no one could hit me.
There's a great temptation to throw things in, as you put it, that you think are neat, or that you have a very clear, specific memory of and think you could do a good job writing about. What I find is that it's like a seed you plant. You can try it, and if it will grow and connect with other ideas in the book, and you can see connections that you can actually realize on the page, then you're allowed to leave it in. But if it just kind of lies there and doesn't really add up to anything or there's no chemistry with everything else going on in the book, then you have to take it out.
The call that always seemed the toughest to me was the slide and tag play at second. You can see it coming, but you don't know which way the runner is going to slide, where the throw is going to be, and how the fielder is going to take the throw.
Actors very often are people who think it's always about 'me,' and I can see why! No one else is going to support you or say, 'Gosh, I'm sorry about that,' or, 'Here, let me give you a job.' It doesn't happen that way. You can see why performers get very self-absorbed.
I've got to think about what I'm going to say very carefully. There's two avenues of thought: Do you stop everyone going, ban all the artists coming in from Russia? But then you're really leaving the men and women who are gay and suffering under the antigay laws in an isolated situation. As a gay man, I can't leave those people on their own without going over there and supporting them. I don't know what's going to happen, but I've got to go.
Think about what happens on Earth when you throw up. You throw up and you have a bag of something horrible and then you throw it away, but if I have this bag, what am I going to do with it? This bag is going to stay with me in space for months, so we want a really good barf bag.
I think the best villains are ones that you can look at and say, 'Yeah, he's obviously going about this the wrong way or going too far or whatever, but I can see where he's coming from.' Magneto's a great example of that, and the reason he and Charles Xavier can have such great conversations is that they can both make some good points.
The best way is always to stop when you are going good and when you know what will happen next. If you do that every day ... you will never be stuck. Always stop while you are going good and don't think about it or worry about it until you start to write the next day. That way your subconscious will work on it all the time. But if you think about it consciously or worry about it you will kill it and your brain will be tired before you start.
Actors very often are people who think it's always about 'me,' and I can see why! No one else is going to support you or say, 'Gosh, I'm sorry about that,' or, 'Here, let me give you a job.' It doesn't happen that way.
I think it's great when writers get recognition; it doesn't happen very often. I just don't want that writer to be me. Let it be Aaron Sorkin or, you know, somebody good.
If you know anything about Islamic civilization, or about the contemporary Middle East, about the sociology and the anthropology of the people who live there, and their recent history, and their religion, and their motivation and everything, then you realize that changing Iraq into a democracy is not going to happen. It's just not going to happen.
I always tell people go see something you don't know about. Something you didn't read a ton about on the internet. Something that you don't know what's going to happen because I think that kind of pleasure of finding something new and discovering it, creates a hunger in you.
This was not a good idea coming home for Christmas. I'm too old. Years ago, coming back from schools or trips, I always expected some sort of new perspective or fresh insight about the family on returning. That doesn't happen anymore-the days of revelation about my parents, at least, are over... its time to move on. I think we'd all appreciate that.
Everybody wants to know, 'How do you throw a curveball, how do you throw a slider, how do you throw this and that,' when they can't even locate a fastball. Learn how to control your fastball and then once you've got that, move on to other things.
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