A Quote by Heather Armstrong
I have to live the content, then come back and write about it.
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My mentor Jon Simmons introduced me to the Stanislavski system, which is so heavy on back-story. So you write and write and write these back stories about a character and then you throw it away. So then on set, if it doesn't come, then you didn't do your work.
You write a book, and after 50 pages you think it's about one thing, and then you write another hundred and you realize it's about something else, and then by the time you're done, you can look back and say, 'Oh, this is what it's about.'
When you've had a chance to live some experiences then you can really write, and not having lived that much when I was young I didn't have much to write about. Now having seen life, the songs seem to come easier.
I'm not nervous if I think about something for nine years and then I don't write it. Even if it fades it doesn't concern me. It'll come back if it's worth it.
I write a lot, and then forget what I've written, and then come back to it and say, "Not bad, I should do something with this!"
I live my life until I start the cycle of my dreams, then I leave and search for you until I die. When I come back, I live to remember. I live to find you.
With Twitter and Instagram and all of these vehicles where fans can directly interact with you and get your attention, there's a little bit of an entitlement. Like, "Why won't you follow me or write me back?" Well, if I write you back, then I have to write everyone back.
I turn sentences around. That's my life. I write a sentence and then I turn it around. Then I look at it and I turn it around again. Then I have lunch. Then I come back in and write another sentence. Then I have tea and turn the new sentence around. Then I read the two sentences over and turn them both around. Then I lie down on my sofa and think. Then I get up and throw them out and start from the beginning.
I write as if I'm someone reading the book - often people ask if I write one strand first and then go back and seed in the other, but I don't think I could keep track of who knows what, and the tension would come out wrong, so the answer is no - I write it more or less in the order you read it.
On Monday I come in and get in a full body workout, and then I come back in on Wednesday and do a quick six, which consists of bench press, biceps and triceps curls, pull downs, something for the back and the neck. And then you come back and hit it again on Friday with a 16-machine workout.
You have to be in California in order to write or direct movies. People say, "Oh, I'm gonna do it from Pittsburgh. I'm just gonna deliver scripts or fly out, like, once, then fly back." You have to make a full commitment. You have to actually get on a plane, come to L.A., rent a place, and live there. And that's how you forge your career. Not just sort of haphazardly. Once you've got a few hits under your belt, assuming you do, then go back and move away and correspond with the studio.
One thing I've learned in my career is that you don't have to answer people right away. I've learned how to say, "Can I get back to you about that?" Now I've given myself time to really assess what you asked me to do or what the situation is, think about it, then come up with a plan. Then by doing that, when I come back to you, it's not what I say it's how I say it.
Most of the songs that I write have nothing to do with the stuff that I used to sing about since I didn't write back then.
Who is my role model and how long can I keep this going? I just move around and do different things and come back to music, try making films and come back to music, write children's books and come back to music.
The call for diversity is about recognizing that in order to be in the conversation come awards season, it goes back to the content that is being produced.
Sometimes when you make a film you can go away for three months and then come back and live your life. But this struck a much deeper chord. I don't have the ability yet to speak about it in an objective.
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