One of the first things was I made Arlo [the Apatosaurus] a younger character. And then when I was that age (around 11 or 12), what was I like? Sweat pants, turtle-neck kid; didn't know anything about fashion or style, the culture of the world. I was very sheltered.
I found my personal style in black humor and mixing funny things with very touching ones - like trying to force people to cry and smile almost at the same moment.
I'm a producer, writer, director. I'm putting everything together very fast, and I'm strong and focused on making the next film as fast as possible. From one film to the other, I'm getting better. I'm learning - that's my style.
I'm definitely a big believer in the notion that a heightened style can get you closer to an authentic human experience than so-called realism on film. There are films I love that have kind of a muted or realistic style, but for me on any given day I have more moments during the course of a day that feel like a Fellini movie than I do a Cassavettes movie.
I can do comedy but it's a certain type. I'm not a physical comedy guy. I'm not Will Ferrell - there's just this crazy and get naked and run through the thing screaming. That's just not my style; my style is drama or - I'm not slapstick.
Yeah I was aware of the book, but hadn't read it. So as soon as I'd finished the script, I got a copy of the book and read that. My wife had read it and she loves it, so that was a good sounding board. I like her writing style, she's such a page-turner. I enjoyed The Constant Princess as well. I think she's great. The books are very popular with women and I can see why.
I've recorded songs that are prayers in different styles, not just in the traditional gospel style that can help and comfort them. It's the words that matter most.
You never know how stylish a movie is going to be and I think this movie has a great sense of style. The way that it is shot and our costumes and everything, it was just terrific.
I love when clothes make cultural statements and I think personal style is really cool.
Fashion is temporary; fashion is a race. What it's doing is giving you something that you say, "This is the outer wrapping of me." Style is something else. It's not quantifiable. Fashion is about selling. Fashion is about what's in. Style is independent of that; style is individual.
I seemed to have instinctually a strong idea of how the strip had to be written from the beginning. That changed too, but it was more in the direction of where it was headed. I didn't have a clue as to the drawing style, because the drawing style that I was groomed on from the beginning was newspaper comic strips, which were much more conventional.
Just concentrate on the performers. Make sure you get the performers, and that's it. That's all we need to do." And I was thinking, "Well what if you do both? Of course the performance is important, the writing is really important. But what if you could have the perfect marriage of making it look really slick as well?" I think that's kind of what I tried to develop as a style, and Spaced was the first TV show I did where all the elements came together.
The script and the performances and the style all clicked.
Having done Spaced, I can't even remember it being that difficult on Spaced, but we know what the end's going to be like. We know why we're putting in this amount of work, or why a shot might be particularly tricky, because we know that what we do is create a whole package. It's the writing, the performances, and the style of camerawork, that's what we're working toward, and we're prepared for that.
I think you never want to limit yourself to one style of anything. Why put those limitations on yourself?
I think that's something that always enticed me about the '40s - back then, the glamour and the style - you couldn't really make it up. You just were or you weren't. You either fit in that world or you fit in the other. Things were very cut and dry. Things were simple. There wasn't a whole lot of excess or flash to be flashy; it was real flash, and real excitement.
I don't master my craft or my style enough to have any philosophy or dogma to which I feel I belong.
I don't belong to any school or clique or ghetto. I don't have any preconceived ideas. I'm trying to serve a story and not a genre or a style.
That's what I love about the mockumentary style, is the added thing of people knowing they are on-camera, which changes your behavior. That's why we sometimes do what we call spy shots.
I have skipped from style to style from film to film, and I love doing that because it's given me the ability to free myself from the past. Perhaps one of the worst feelings that I can have is the feeling that I'm locked in, like a prisoner of myself, which is something we all feel at some point in our lives. So part of making those stylistic jumps is just to free myself up-to get away from the old or the old Oliver Stone.
For a sampler, you could try my short story collection "Wireless". Which contains one novella that scooped a Locus award, and one that won a Hugo, and covers a range of different styles.
I don't care about truth; I care about art and style and writing and occupying the wall. For me, my writing style is very linked to the fact that it is a work of art on the wall. I had to find a way to write in concise, effective phrases that people standing or walking into a room could read.
Speech recognition is utterly crap for writing fiction. If you try reading a novel aloud you'll soon figure out why - written prose style is utterly unlike the spoken word.
I have no policy, for or against: only a personal style. Which is to say, I use them when I think it's appropriate to; for example, an internal monologue by a locquacious and verbose narrator is more likely to be larded with adverbs than an exchange of instant messages between cops at a crime scene.
What's interesting is that my style is a lot crazier than what I project out there. It's a lot edgier.
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