There's a rumor that there may be an attempt at organizing a possible script for a series on my life, which, when you look at my police record, you'd have to have more than one hour to tell the story.
I think when you're young and have that first burst of energy and make five or six pictures in a row that tell the stories of all the things in life you want to say... well, maybe those are the films that should have won me the Oscar.
I can't tell stories to save my life. I like to have fun, and I go out and have a lot of fun. But I'm not really an entertainer that way. I'm much more shy.
I have never sold my story, done 'Hello!' magazine, any of that stuff. I'm not guilty of exploiting my private life for cash and then saying, 'Oh, I don't want to talk about my private life.' I've never crossed that line.
Here in L.A., you kind of get stuck in your own little dilemmas and your own little life, and hearing a story like Pocahontas' reminds you there's a bigger world out there, and there are so many more important things in life.
I do try to speak of positive things. I still try to, like, present two sides of the story, and I do try to relate to life in a 360 degree and not be one-dimensional. But by all means, manage expectations.
The desire to move into a bigger house, to avoid living AIDS daily, and a dream to be accepted by a community and school, became possible and a reality with a movie about my life, The Ryan White Story.
I'm the man who sits behind a table and tells true stories from his life. I'm also an actor. I was trained as an actor at Emerson College, and I use that training to play myself.
'The Secret Life of Bees' was my first novel, so I had no process. I was flying by the seat of my pants, as they say, trying to understand how I, as a novelist, would work with story.
As a child, I was an observer, a listener for the stories of grown-ups. I led a quiet, solitary life with my mother, interrupted in the evenings by the arrival of my father who preferred to live in a state of emergency.
First and foremost, The Quiet Invasion is a first contact story. What would we do if we actually found evidence of alien life out there? It's also about politics.
'Crucible' was going to be a 'passing of the torch' story. So something that was big enough to be worthy of that, that could show these characters being changed - along with their respective outlooks about life, the galaxy, and the Force - was Mortis...
Fantasy allows you bend the world and the situation to more clearly focus on the moral aspects of what's happening. In fantasy you can distill life down to the essence of your story.
For me, 'risky' is revealing what really happened in my life through music. Risky is writing confessional songs and telling the true story about a person with enough details so everyone knows who that person is.
I never set out to write literature; I set out to tell stories. And some of my work may be very raunchy and very bloodthirsty - but life, for me, is a violent thing.
'Cars 2' is about a character learning to be himself. There's times in our lives where people always say, 'Well, you've gotta act differently. You should always be yourself.' That's the emotional core of the story.
Getting bogged down in old stories stops the flow of learning by censoring our perceptions, making us functionally deaf and blind to new information. Once the replay button gets pushed, we no longer form new ideas or conclusions - the old ones are so...
I get scared easily, so I'm not one for just sitting down with a bowl of popcorn and watching horror stories. But, I mean, I'm learning more. Maybe one day I'd like to be able to watch them.
'Agent Mom' is a perfect opportunity for me to do what I love... develop characters, act and take incredible stories to my fans. So yes, I can absolutely see myself cast as 'Agent Mom.'
I've been reading scripts where they've been doing a lot of singing now, but within the dark, realistic story line. I would love, love, love, love to do that. But not a musical on Broadway, I don't have that kind of energy or stamina.
Michael Moore didn't have to worry that anyone would misinterpret the title of his film, 'Capitalism: A Love Story,' because in Hollywood, no one loves capitalism. That's too bad, because Hollywood is one of capitalism's greatest successes.
