A Quote by Chester Brown
I have stuff I'm interested in working on, and I'd rather work on what excites me than complete projects from the past that I've grown bored with.
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What excites me the most is working on new projects.
In a media landscape that has grown in unimaginable ways, there are more projects that have come along now than ever. While the number of projects has grown, many players are vying for that audience.
I love what I do too much to compromise on it. I would rather wait for the work that excites me than just go and do a job so I can stay busy.
I always try to pick projects by: Is this something that excites me? What are the people like to work with? Obviously you spend a lot of time in a room together with them, so I always try to find projects that hopefully have great people attached.
It always did bother me that the American public were more interested in me than in my work. And after all there is no sense in it because if it were not for my work they would not be interested in me so why should they not be more interested in my work than in me. That is one of the things one has to worry about in America.
I'd rather be busy, working non-stop, than being bored at home, you know?
In England, I've done a whole bunch of stuff where I just make a complete ass of myself. I've been doing it for 20 years, so I just gravitate toward it anyway. I'd rather do that than do the stuff where I'm supposed to be trying to look cool in some way. It's more interesting to me.
I'm always interested in projects. Whatever I do, I'm interested in the color of the material. I'm not interested in who's making it. I'm more concentrated on the work.
When I'm working in finite serials, I always think in terms of the entire book rather than the individual episode because, by far, the vaster sector of the project's lifespan will be in complete book form rather than the singles.
In any of the big acting cities, there are breakdowns that the casting directors put together for the projects that they're working on and then they get sent out to the agents and stuff like that. It's difficult to find projects, sometimes, unless your agent or manager is submitting you for those specific projects.
It's challenging and interesting for me to work on projects that are unique and unconventional. I'm so bored with seeing the same recycled material.
I tried [being a mogul]. It bores me. I don't really want to produce other people's movies. Because they're either grown-up filmmakers like Steven Soderbergh or Kathryn Bigelow that didn't really need me - and I've produced both of them. It's fun to sit around with them and be collegial, but they don't need me. They can make the film without me. I make my own stuff. There are tons and tons of other things I'm interested in that have nothing to do with movies or are documentary projects.
My projects have typically taken a long time to complete. Buildings might take on average about five to seven years to finish, but in my case it's been longer, because the projects I have accepted within the past 15 years have been mostly government projects, and those involve some politics and funding issues, and approvals and so forth. So they're slower.
For me to start working, projects have to catch my attention whether they are here (in the USA) or in Mexico. All I want is to be involved in projects that are interesting to me, projects that are a challenge wherever they may happen, in Spain, in China, or in Hollywood.
If someone is interested in working with me, I would much rather them email me and we sit down or get on the phone, than them look at a client list and decide if I'm worth it or not. It should be based on work, and based on how we get along. As opposed to like, "Oh, he's worked with this, this, and this. Let's go. That's fine."
I don't really analyze my stuff when I write. I write about stuff that I'm interested in, that I'm feeling at that particular time. When I stand back and look at the complete work, I might see themes that run through the whole film, but I'm not really conscious of it when I'm doing it.
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