Quotes of All Topics . Occasions . Authors
Having a son has made it all the more important for me to stay in close contact with my family in Texas and Arkansas, whom I know full well voted for Trump. Though I didn't, and have deep problems with this administration and many of them don't. But I'm not going to let that cut the tie from my son to his own history and family.
I took four years off after 'In the Cut' because I wanted to see who I'd be without work. I even tried being a hermit in the wilderness in New Zealand. I stayed in a warden's hut two-and-a-half hours off the Routeburn Track through the fjords on the South Island. It was early winter, so there was no electricity or running water.
There was a time before I felt I was a real writer, when I was a yarn spinner and I just wanted to tell story until it was over. But then there came a time where I was like, 'No, I want to understand something through writing this that I might have not understood before. I want people to come away with something to think about.'
Even when I'm writing animation, I think of them as real people. I think of them as completely three-dimensional beings, even if it's a talking teapot. I don't think of them as one-dimensional drawn characters running around. Maybe that's why, to me, there's really no difference in writing the two - animation versus live action.
War and, apparently, hurricanes are very good for the oil business. But I've got to believe at a certain point, as a nation, we're going to go in a different direction toward an increased sense of personal responsibility, a lowering of each individual's carbon footprint and a real collaborative effort to help sustain our planet.
Human beings are compelled to adopt a belief system; some paradigm to provide meaning, purpose, and understanding to our lives. A quick survey of the world shows that pretty much any idea will do - it need not reflect reality or truth, merely function to fascinate, distract, and compel. We are designed for belief, not for truth.
The creative process is not like a situation where you get struck by a single lightning bolt. You have ongoing discoveries, and theres ongoing creative revelations. Yes, its really helpful to be marching toward a specific destination, but, along the way, you must allow yourself room for your ideas to blossom, take root, and grow.
One picture and one win cannot right a million wrongs. It's a step in the right direction.We have to get to a point where a movie like "Moonlight" winning [Oscar] or Barry Jenkins being nominated and winning, you know, for a screenplay or being nominated for best director - that it's just commonplace. They shouldn't be a novelty.
When I was a critic, I reviewed Public Enemy's 'Muse Sick-n-Hour Mess Age' - this is back in '94 - and I called it a 'Dante-esque spiral of the hip-hop hell.' I idolized Chuck D, but I just hated that record, and I did not hold back. Chuck didn't freeze me out. Every time I met Chuck, he always treated me with the utmost respect.
I had this thing where I only wanted to work on original material, no adaptations, and obviously, that changed. I really wanted to have the resources and have the space and the time to tell stories that I've really cared about. I've kind of changed my approach, but I've gotten to do that, to tell stories that I really care about.
'Star Trek' is a 'Wagon Train' concept - built around characters who travel to worlds 'similar' to our own, and meet the action-adventure-drama which become our stories. Their transportation is the cruiser 'S.S. Yorktown,' performing a well-defined and long-range Exploration-Science-Security mission which helps create our format.
I think that the romantic impulse is in all of us and that sometimes we live it for a short time, but it's not part of a sensible way of living. It's a heroic path and it generally ends dangerously. I treasure it in the sense that I believe it's a path of great courage. It can also be the path of the foolhardy and the compulsive.
As far as superhero stories, what's appealing is of course that aspect of wish fulfillment. I mean, you start out reading them as a kid, and a couple things jump out at you - there are heroes out there, and you wish you could run into a phone booth and change your life, or be like Peter Parker and put on a mask and become a hero.
To me, to spend all the time and energy and face all those creative challenges that you would spend for a two hour movie, you're inventing a world, you're inventing characters. If they're interesting enough, they should be compelling enough to go for five more episodes. How incredibly frustrating would it be to just do one movie?
Once you decide that you're going to have the death of Spock, then how does that affect the other people? Why is it there? I got a lot of stick from a lot of people from the very beginning about the idea of killing Spock. Somebody said, "You can't kill him." And I said, "Sure you can; the only question is whether you do it well."
We are manipulated by fear and the fear of others, and how we're often manipulated into doing things and voting in ways that are against our own best interest. Look at healthcare. People will tell you that healthcare is socialism and communism, and they're doing this while their wife needs an operation and their kid needs braces.
I'm always interested in characters who are closed down, but who open up when they choose to, rather than when they're obliged to. I think that's a very appealing thing, for an audience and just in life. I like the idea that something will say nothing, and then get straight to the point. That feels like how your heroes should be.
When you have a movie that has big stars in it... like, Will Smith does a great job in 'I Am Legend,' and it's a magnetic performance, but he's always Will Smith. That's not his fault. That's not anyone's fault. He's the center of it, and he's a movie star. But when you see something like 'Jurassic Park,' Sam Neill is Alan Grant.
I think when I start out writing, I always try to write the version of the movie that I want to go see. I don't mean it in a way that ignores the audience, but I really set out to make a movie that I want to see and that, hopefully, other people will want to go see it. So whatever's amusing to me, I guess, I throw it all in there.
One of my favorite memories as a kid was when the original 'Secret Wars' came out with the debut of the black costume for Spider-Man. I remember I couldn't wait to get home to read it, and I was like, 'Oh, my God, I've been waiting for this comic to come out. I hope, God forbid, nothing happens to me before I get home to read it.'
I loved teaching and I did a lot of work as a teacher's assistant in college, and my favorite experience was basically getting a laugh from a bunch of people because they had just understood something. Because I had shown them something they hadn't seen before, and it amused them. That's the combo platter. That's a perfect moment.
The key for me with historical characters is they're interesting because they're human beings. A little bit of Hemingway goes a long way here, but journalists and writers should honestly look at their material and have a real interest, a real passion in what they want to write, and they should also have a lot of knowledge as well.
Another thing we wanted to do, a lot of shows or movies that are in the future or the post-apocalyptic are very bleached, desaturated desert environments and we wanted to do the opposite of that. There's always talk about Chernobyl and the world that environment has recovered has become this idyllic, bizarrely refuge for wildlife.
Stress is not bad but a necessary part of facing life's challenges. Whilst the dreamers maintain the delusion that 'all accidents are preventable' the rest of us know that the bumps and challenges of life are necessary for learning, resilience and maturation. There can be no resilience without stress, and no learning without risk.
We say we embrace humanity, but what does that mean? We are all defined by our limits, so to what extent can we embrace all this? Because we all contain within ourselves equally the capacity for kindness, as much as for cruelty or evil. And the best of us are able to suppress those baser impulses, instincts. That's the war within.
The creative process is not like a situation where you get struck by a single lightning bolt. You have ongoing discoveries, and there's ongoing creative revelations. Yes, it's really helpful to be marching toward a specific destination, but, along the way, you must allow yourself room for your ideas to blossom, take root, and grow.
Watersheds come in families; nested levels of intimacy... As you work upstream toward home, you're more closely related. The big river is like your nation, a little out of hand. The lake is your cousin. The creek is your sister. The pond is her child. And, for better or worse, in sickness and in health, you're married to your sink.
Suddenly, after years of television being the poor relation and film being everything, it now feels like film is a conjuring trick. It's like, "Oh, my god, how are you going to do that in 90 minutes, as opposed to eight hours?! I've got so little time to do this!" It becomes an art form, in itself. Doing both helps you do each one.
They [movies] don't really have the cultural impact - other than "Star Wars," of course - that they used to because television is something that week to week people invite into their homes. It's a relationship that in success can go on six, seven, eight years. I think certainly in the early days, you definitely want that engagement.
In the 20th century, we had a century where at the beginning of the century, most of the world was agricultural and industry was very primitive. At the end of that century, we had men in orbit, we had been to the moon, we had people with cell phones and colour televisions and the Internet and amazing medical technology of all kinds.
The only advice I can give those who want to sell thei films is to surround yourself with people who are friends and people who believe in you and your material and who are going to help you take it to the next level. It doesn't mean you don't listen to criticism but you listen to it and edit it and you figure out what you can take.
Filmmaking and television series are team sports. Look for the best team for you. Plan, budget your time, money and spirit. You need all three to get serious work done. Never say no because something scares you. Never say yes because you're flattered. Stay open, but stay proud. It never gets easy. Get over that part. Get on with it.
If you're engaged more than a year, there's something up. There's lot of debate as to whether one should or shouldn't get married, but when you get engaged, it's a promise to get married, and if you don't just do it within a year, one of the parties is using the excuse of, like, 'I can't find the right venue' to put off the wedding.
I wrote an episode for 'thirtysomething,' and a producer said, 'That's really good, but what is it about? What does it say about you? What questions are you asking yourself?' I had never thought about that. This comment changed who I was, because it made me look at my own soul, the dark corners in my soul, and accept that dark side.
To begin to know the philosophy of socialism, in backward countries where the class differences are great, very great, and terribly exaggerated over the conditions we know in this country, to overcome this, the theory of revolution, of force and violence, was necessary within those political conditions. It couldn't be anything else.
True stories are always good because they're so odd, and so unlikely. It's always good to have a world that people don't know about - a world that hasn't yet been done. It's like treading on fresh snow. You're the first one there. It always feels good to be dealing with a period of history or a world that no one else has dealt with.
The novel may be dead as a commercial form. When art forms things die as commercial forms, something happens to the practice of those arts that isn't very pleasant. It used to be that a poet like Tennyson could keep his house and his coach-and-four and his staff of six servants on the income from poetry. That doesn't happen anymore.
When we were doing 'The West Wing,' the hardest thing about doing 'The West Wing' was being compared to yourself. You go out there and want every episode to be as good as your best episode. I wrote 88 episodes of 'The West Wing,' and when you do that, one of them is going to be your 88th best, so your 88th best better be pretty good.
Television used to be made much more in a vacuum; the only feedback the audience had for a long time was in a Nielsen number that would arrive sometime after the show had been broadcast. And now, people are just completely engaged on so many levels, and I think that you have to find a way as a show creator to follow your own compass.
When you introduce these tools into the community, they can be adopted and implemented at the local level - and the results have been powerful. We have to ask the questions, how do people survive in poverty and other challenges of traumatic childhoods? And, until we fix this underlying problems, how do we help people in the meantime?
There are any number of very hard working people in Hollywood who deserve recognition. Mostly its the artisans and crafts persons - the 'below the line' workers - whose only reward is to be pejoratively labeled 'below the line' workers. I say get them all on the next thing smoking to Vegas for an all expense paid weekend of whatever.
I am involved with 'Write Girl,' which is such a great organization, because they go into inner city schools and work with underprivileged girls to pair them up with other writers. And it gets them learning to express themselves and become familiar with their own voice. They have a 100% success ratio getting those girls into college.
Audiences are hungry for something different. With binge-watching, they're hungry for interesting content they haven't seen before, and they want to be entertained. A lot of shows are grim, murky and dark. We wanted to spin away from the obvious, the tropes, the cliches and what people are doing right now, and do something different.
Getting 'Millionaire' right was as hard as writing 'Dirty Pretty Things.' Harder. In the pilots, contestants kept wanting to take the money; we had to find ways - the lifelines - of keeping them in the seat, answering the questions. But there is so much snobbery about popular culture. A game show just isn't valued as much as a novel.
If you close your eyes you can imagine the hackers sitting in a room, combing through the documents to find the ones that will draw the most blood. And in a room next door are American journalists doing the same thing. As demented and criminal as it is, at least the hackers are doing it for a cause. The press is doing it for a nickel.
I'm very physical. When I'm writing, I'm playing all the parts; I'm saying the lines out loud, and if I get excited about something - which doesn't happen very often when I'm writing, but it's the greatest feeling when it does - I'll be out of the chair and walking around, and if I'm at home, I'll find myself two blocks from my house.
My parents took me to see plays, starting from when I was very little. Oftentimes, I was too young to understand. I don't know what my parents were thinking - 'Who's Afraid of Virginia Woolf' when I was eight years old, that kind of thing. So lots of times, I didn't understand what was going on, but I just loved the sound of dialogue.
When Superman was originally created, by Siegel and Shuster, they were two Jewish immigrants that were desperately trying to assimilate into America. They were having a hard time because they were Jewish. They wanted to get in to mainstream publishing but they couldn't. That's why they, and a lot of Jewish guys, went into comic books.
We took over with 'Leverage' three warehouses, and now four with 'The Librarians,' and turned them into proper sound stages with sound doors and all the lights. We now have control of four real, proper-sized sound stages. The problem is they're dark and empty half of the year because there aren't enough productions coming into Oregon.
I am not involved in any 'issues' because it's too sensitive for me - or my wife - to get involved. Every time we express an opinion it becomes a whole thing in itself. And the whole purpose of living in the countryside was to get away from hundreds of people. My wife fell off a horse, and suddenly there are hundreds of people around.