I don't storyboard. I guess it dates back to my days in live television, where there was no possibility of storyboarding and everything was shot right on the spot - on the air, as we say - at the moment we were transmitting. I prefer to be open to what the actors do, how they interact to the given situation.
I'm interested in seeing artists whom I respect who are very focused on the Black Lives Matter moment, bringing that into storytelling in a way that really amplifies the beauty and the humanity of people of color, and does it without having to wave a big sign that says, 'This is what we're doing.'
Life rarely presents fully finished photographs. An image evolves, often from a single strand of visual interest - a distant horizon, a moment of light, a held expression.
There's no more exciting moment for me as a brand strategist than a turnaround.
I'm getting to a point where everything is becoming streamlined in my life. I'm learning how to stand onstage for two hours and play in front of thousands of people as if I am completely in the moment every moment.
When I was in the closet, I had so much pressure on my shoulders. When I came out, that was actually the first moment I felt relieved of those stresses. It really showed in my skiing.
Children themselves know they are being cheated. Ultimately we owe it to our children. They are in school for 190 days a year. Every moment they spend learning is precious. If a year goes by and they are not being stretched and excited, that blights their life.
I have a closet full of blazers and more striped shirts than any human could possibly wear. Somehow I think that I don't have striped shirts, and then I look at my closet and go, 'Oh, I have ten.' But then you always end up with your favourite striped shirt of the moment, and you don't end up wearing any of the other ones.
Doubt is the enemy of mania. It's trying to get aloft strung with weights. The moment I like writing is three sentences in, when somehow those weights drop away, and you can invent. I cannot tell you the dread I have.
We're used to a story in modern terms as an information delivery device. Certainly on television and even with the studio films, there's really only one note that you get, and that's clarity. And people will sacrifice everything for clarity. They'll sacrifice the joke. They'll sacrifice the moment, or the romance.
Stumbling upon the next great invention in an 'ah-ha!' moment is a myth.
I wanted to make a film about stupid people that was very vulgar and deeply stupid. From that moment on I can hardly be reproached for making a film that is about stupid people.
Once I moved to L.A., there was a dark moment of trying to keep up with the girls I thought were pretty. Until I realised that's the stupidest thing you can do because people are so pretty in L.A.!
The second you're bleaching hair more than three or four levels on a consistent basis and want it long, and then you're heat styling it and living in the world - it's just impossible. You can get it there for a moment, and then you might get a couple re-touches out of it.
Each moment calls for a different stylistic essence and a different sense of impact, and mastery of this balance is an art form - a very learnable art form.
Every 10 years or so, there was a moment when I'd say, even subconsciously, 'Is that all there is?' You've got to find ways to keep it fresh for yourself.
I emerged in that incredible moment in the 1980s when all kinds of social questions about subjectivity and objectivity, about who was making, who was looking.
I know that my tendency is to be linear, and I'm trying to find ways to subvert that. And so in 'Bellocq's Ophelia' my device for subverting it was to tell the story and then to tell it again; it always circles back to this one moment, and it's not linear, but it's round in that way, and much of 'Native Guard' is like that.
If we knew exactly the laws of nature and the situation of the universe at the initial moment, we could predict exactly the situation of the same universe at a succeeding moment.
Courage! I have shown it for years; think you I shall lose it at the moment when my sufferings are to end?
