What seems most significant to me about our movement is that we have freed painting from the importance of the subject. I am at liberty to paint flowers and call them flowers, without their needing to tell a story.
I think you have to do the stories that interest you and hope an audience likes it, rather than doing stories that you think the audience will like, whether you like them or not. I think there has to be something that you find compelling and interesting, and then hopefully an audience will agree with you.
You have to be driven by the stories that you want to tell. You can't simply be responding, or there won't be any real heart to those stories anymore.
Nothing is ever finished. It's a funny thing. I actually think that's really the more natural way of stories or songs.
In the old days, people would gather around the fire, or they would gather at a tavern, and they'd tell a story. And then, maybe a week later, someone would tell the same story, but with a different twist on it. That's how folk takes evolved.
When I see a news story on a site, about a movie that I'm interested in, it's like the mouse going for the pleasure button and I click it. But then, when I see the movie, it's like, "Oh, I would have enjoyed the movie that much more, if I hadn't known that."
Storytelling wise, you've gotta take it as far as you can possibly take it with each individual movie. If you're holding out something for a sequel or some cliff-hanger, that's not how I think of a satisfying story.
As a child in Sydney, my German Mum and my Austrian Dad would spontaneously tell me stories about what they saw and what they did as children. It was like a piece of Europe coming into our house... Those stories led me to my writing.
Like stories, people have individual lives, and are all caught up in this murky thing. All of them have the best intentions. In that sense, you could just as easily tell the same story from another character's perspective. Maybe that's a good idea for a TV series.
I love to tell stories and I love to work with directors and I think I write really visually, which I think directors like, and I love making movies, so I found something that I'm good at and I'm really happy doing.
I'm a storyteller and the Bible is a bunch of stories about life and things that took place here on planet earth. It's a great example to use and a great reason to be happy about being a storyteller because the lessons of the land are always in stories.
I've been reading tabloids since I was nine. I love a good story.
When I'm on stage, I'm not me playing me. I'm somebody else doing me. I could never go on stage and be like, "Hey, I'm Mike Tyson. My mother and father was in the sex industry." That's the politically correct way to say it, but I would really say, "My mother and father were pimps and whores. This is my life." I could never do that as Mike Tyson. Because I'd feel sorry for myself. But if I could be objective about it and be somebody else, portraying Mike Tyson, saying this story, then it's easy sailing.
I don't want to do only movies that I'm in. I definitely want to start to branch out and do TV and stuff that I'm not in and really make a good run at it as a production. I'm probably going to take a break from acting after a little while because I've enjoyed the developmental process so much. It helps you as an actor to learn story and to learn how to really nurture a script and work with a writer so you're not sitting there having to write it yourself and give notes.
I don't know if I've ever written anything that's not a bill! I do write stories but I don't put a stamp on them. I wrote a story for my wife over Christmas and gave it to her as a present because she asked me to, but I don't put a stamp on things and send them to people.
For me, it's always filmmaker and then character and then story. They're all equally important but if you don't have a great filmmaker, you will not have a great film unless you just get lucky.
I think I'm going to venture into the futuristic, semi sci-fi love story land, but still in my style of improvisation.
Even if you're doing something that the studio sends you, or something that's based on a book or story, at the end of it all, you try to make whatever it is your own. This is based on my love of horror movies. Everything is based on something, in some way.
Whenever I work on a film, I have three rules. Only three and I tell them to every screenwriter. I say let's retain the spirit and the intent of the overall story. Let's make it the best film that we possibly can.
If you have no conflict, you have no story. That's number one. That's a rule of novels.
When you're developing a story, for me anyway, it's all so important to get the script right, especially when you're telling the story of an icon. You've got to get it right. Otherwise, you'll get killed by critics and fans.
I'm not a big dreamer. I never have been.The only thing I've sort of obviously extracted from the research of dreams is that I don't think there's a specific science you can put on dream psychology. I think that it's up to, obviously, the individual. Obviously, we suppress things, emotions, things during the day - thoughts that we obviously haven't thought through enough, and in that state of sleep when our subconscious or mind just sort of randomly fires off different surreal story structures, and when we wake up we should pay attention to these things.
When you're in sync with the director, on the type of movie you want to make, the arc of the characters, how the characters intertwine and interact, plotlines and story, and things like that, it really makes a difference.
If I like it, if I think the character is going to be fun, if I think the story is good and if it appeals to me, then I want to do it.
What I try to do with any of my stories, any of my novels, is make them feel very original.
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