Too often, we get attention and sympathy by being a victim. If we're invested in someone being our villain, we must love being the victim. We have to let go of both characters in the story.
I mean, I'm always happy if I have, like, humiliating asshole things that I did. I think: Oh good, that's a good story. Because if you write about humiliating asshole things other people do it doesn't work as well. I mean, you can, but you can get away with it better if you talk about what an asshole you are. It's much easier.
On one tour, I was collecting stories about pet monkeys. You'd be surprised how many people have stories about monkeys. The problem is, most monkey stories end tragically.
Comedic actors can be looked at as a lower form because we have to put ourselves in a lower place than most of the audience. I think lofty emotions are somehow considered more special. The best stories in the world to me are the ones that elicit a real emotion, but have humour.
The light that has guided us is still unquenched, and the causes that have carried us so far in the van of free nations have not spent their power; because the story of the future is written in the past, and that which hath been is the same thing that shall be.
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.
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.
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.
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.
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.
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.
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.
I think for me, what I'm doing on set is I'm watching things happen as an audience member and trying to just look at, what's the image we're photographing, how will that advance the story and what will the next image be.
When a song comes from a real story and from a real place I think it comes across to people. That's important.
Since I was a kid, I could make up stories, I could make up funny jokes and I could always do it. When I'm walking down the street or having dinner, ideas will hit me, and I write them down on matchbooks or napkins and throw them in the draw.
I think the gender story will become less fraught with hard edges - and not that we'll have androgyny, but that men and women will move more fluidly into each other's domains.
I'm sure everyone's got their back story. I don't come from a place of where I was tortured and needed to let something out. I came from a very happy home. I was a little out of control at times. But my family... we all liked to be funny, we all liked to make each other laugh.
As the decades go by, a painter's life becomes a life lived with oil paint, a story told in the thicknesses of oil. Any history of painting that does not take that obsession seriously is incomplete.
I put my heart and soul into my book - great story and awesome characters... yet people are trying to pull me down.
The big issue was cutting. I finally cut as much as I could, about a fourth of the story, and actually liked it.
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