“…this massive moment of disruption we’re in — is really a function of audiences craving new kinds of storytelling. I think we had a really nice run for 100 years of two-hour, two-dimensional storytelling, but I think over the next decade, decade-and-a-half, you’re going to see a radical shift in how stories are told.”
“I want to put a tag of shame on the greedy bastards who are responsible for this.”
I really wasn’t prepared by how relevant it was to so many situations occurring globally at the moment. The mass migration of populations due to climate changes, infrastructure collapse and economics, the refusal of a system to help and indeed the full demonisation of those in transit.
The language is beautifully simple and yet says so much about strength, sadness, suffering, perseverance and dignity.
“All fiction is metaphor. Science fiction is metaphor. What sets it apart from older forms of fiction seems to be its use of new metaphors, drawn from certain great dominants of our contemporary life—science, all the sciences, and technology, and the relativistic and the historical outlook, among them. Space travel is one of these metaphors; so is an alternative society, an alternative biology; the future is another. The future, in fiction, is a metaphor.
A metaphor for what?
If I could have said it non-metaphorically, I would not have written all these words, this novel…”
- If you were to tell me, right now.
- What’s the most important thing?
- That? Yeah.
- OK. That’s good……………Trust.
- Talent is one thing. But to trust your talent. It’s a hard thing to do. To trust your choices. To use the rehearsals in ways that you’re not watching yourself.
- Right. Self conscious.
- Well, more than that. It’s the director in you. Leave the director outside. When you break down a script and make choices on a scene or a character, there’s an objective part of you that looks at stuff. You make a choice that’s conscious. Then either trust that to your subjectivity or don’t…..Now if you do, let it take you where it will. If it does what you hope it will, it will end the scene.
- …as opposed to your deciding to end the scene.
- Right…I get it.
- It’s hard to explain.
From Hayao Miyazaki:
“From within the confusion of your mind, you start to capture the hazy figure of what you want to express. And then you start to draw. It doesn’t matter if the story isn’t yet complete. The story will follow. Later still the characters take shape. You draw a picture that establishes the underlying tone for a specific world. Of course, what you have drawn will not be your final product. At times, your work may be rejected entirely. When I mentioned earlier that you must have the will to go to any length, this is what I meant. When you draw that first picture, it is only the beginning of an immense journey. This is the start of the preparation stage of the film.”
It’s worth reading here.
“Draw many pictures, as many as you can. Eventually a world is created. To create one world means to discard other inconsistent or clashing worlds. If something is very important to you, you can keep it carefully stored in your heart for use at another time. Those who have experienced an outpouring of an amazing number of pictures from inside themselves can feel it. They feel that the fragment of a picture they envisioned, the other trunk of a story that was thrown out while piecing together a narrative, the memory of pining for a girl, the knowledge about a subject gained as they delved deeply into a hobby – all of these play a role and become entwined into one thick strand. The scattered material within you has found its direction and started to flow.”