Quite a few people have to believe something is normal before it becomes normal - a sort of 'voting' situation. But once the threshold is reached, then everyone demands to do whatever it is.
Most software today is very much like an Egyptian pyramid with millions of bricks piled on top of each other, with no structural integrity, but just done by brute force and thousands of slaves.
So on my screenplay, on the left-hand side of the page, I will put all the ideas that refer to the scene next to it so I have some sort of pictorial reference.
A theatre is not a blank page for editorial, it is not a soapbox or a Tannoy system: it is a conscience that wakes with what is happening in the space, and wakes further still in response to what people are making of it.
I have a Facebook page and a website. Beyond that, I'm actually a very private person. I'd rather see the focus on the books than on me.
If I could, I want to take a page from the George Clooney-like actors of the world. They do things that are relevant, things that don't necessarily have huge box office appeal, but they matter.
Many company policies restrict use of E-mail, limit access to offensive Web sites and prohibit disclosure of confidential information. Few policies, if any, directly address personal Web pages.
Remember each new day you get to turn a page in your life and write your own story. So how do you choose to write it?
The privilege is not writing a novel, it's to have someone read it. When you look at it that way, you realize the responsibility you have to put your very best on the page.
This basic thing I always do: 'What happened between the character's birth, and page one of the script?' Anything that's not in the story, I'll fill in the blanks.
Stop worrying about the 'dumbing down' of our language by bloggers, tweeters, cableheads and MSM thumbsuckers engaged in a 'race to the bottom' of the page by little minds confined to little words.
When we make a mistake, it becomes front-page news. We don't need any reporter telling us how badly we played.
My short stories have always pushed twenty pages. That's no length for a short story to be. You either do them short like Carver or you stop trying.
I like doing clay work. It's different from drawing on a page because you have something to mold into different shapes. It's quite visual, it's a thing you can hold and feel, and that makes it different from drawing.
I do like to work on a Marvel method, so if I've got the opportunity, and the writer is happy to do it, I like to have a writer detail what happens on a page, but not saying what happens in every scene.
So anyway, I've learned a lot about myself just in terms of acting but just work ethic and interesting things like full-page monologues or talking straight into camera, which I had never gotten to do before.
Once you're directing, you're kind of in a certain mode, where you're taking whatever is on the page and forming it into the film that you think it might want to be. So whether it's my writing or not, I still try to work with it in the same way.
I have 800 books of just Samuel Beckett's work, tons of his correspondence, personal letters that he wrote. I have copies of plays he used when he directed, so all of his handwritten notes are in the corners of the page.
All of a sudden, those few pages of script that he had shown me with the weird images I could visualize all of that in my brain, and I knew that there was this mad little genius at work here and I really wanted to do the film.
My goal is two pages a day, five days a week. I never want to write, but I'm always glad that I have done it. After I write, I go to work at the bookstore.
I know how long it takes me to draw a page, how long it takes me to complete a project, how long I can work before my hand gives out, that sort of thing.
