I'd sold the book first. Actually to a paperback publisher. I had nothing. I just had the idea.
When I'm actually assembling a scene, I assemble it as a silent movie. Even if it's a dialog scene, I lip read what people are saying.
The nature of the universe probably depends heavily on who is the actual protagonist. Lately I've been suspecting it's one of my cats.
The way I write is that I'll actually have a conversation out loud with myself. In a weird way, I just kind of get schizophrenic and play two characters.
If you want to reach a goal, you must 'see the reaching' in your own mind before you actually arrive at your goal.
Everyone is usually screwed up in some way and that is usually where the work comes in - figuring out how to make it believable and make it real to present someone's problems that you don't necessarily actually know anything about.
Actually, as president of the Conference of Mayors, we passed the Simpson-Bowles plan as a template, as a template, as a frame work for moving forward and the president has done the same.
I've always felt that I would rather see an actor, writer, or musician's work, rather than actually know the person. If you know too much about an artist, it somehow lessens their ability to do their work as well.
When you're in the day-to-day grind, it just seems like it's another step along the way. But I find joy in the actual process, the journey, the work. It's not the end. It's not the end event.
I'm naturally quite lazy, and I actually think I'm lax about my career. None of my work defines who I am.
We work as a team. I think having the individual being shown as a star actually creates problems internally. We encourage all our investors to work as a team for the benefit of the founders.
I actually very rarely see comedy myself, and although I admire the work of some comics, it does come from all over, so I'll get a charge out of some fiction writers and poets.
As independent filmmakers, we are actually deeply dependent on each other. The Spirit Awards are a public expression of those bonds, the intricate set of relationships and histories that we filmmakers depend on to make our most personal work.
I do say no to lots of things, actually! I know it doesn't look like it. But I have a tendency to a) be rubbish at saying no, and b) be pushed by some kind of Protestant work ethic.
I think naturally I'm a very visual kind of person. If I wasn't in filmmaking, I'd be in something related to visuals. And I used to actually work as a visual-effects artist.
When you start to think about politicians, you've got to realize these are strange creatures. Other than the fact that they can't tell directions, and they have very strange breeding habits, how do you actually work with these things?
I've had lots of things that didn't work out, like TV shows. You learn a lot through mistakes - I learned that you have to be the captain of your ship. Actually, I own my ship.
Without solid connections between homicides, we may have the reverse problem of believing three local murders are the work of one serial killer when they may actually be the work of three!
For English assignments I was constantly coming up with these strange adventure stories... But I actually wanted to be an artist, or maybe work in the comic book industry.
Actually, after while, finding the ideas is the easy part. Sorting them through and turning them into stories, now, that's the hard work.
I've found that it's actually more of a disability to be tall than short. I have no problem fitting into plane toilets etc, and the adaptations made for wheelchair users - such as the lowering of bank machines - work for me as well.
