I think it's more interesting to throw people into a story and let them catch up instead of explaining and feeling like you have to slow down for them. I think audiences, for the most part, they don't want to be ahead of you.
People don't just want a mindless flick with a superstar; they want to connect more deeply.
What a delightful thing is the conversation of specialists! One understands absolutely nothing and it's charming.
I'd like to make character-based dramas. I end up writing thrillers a lot - these psychological character-based things with weird people doing horrible things to each other - coming to a theatre near you!
The great thing about 'Allen Gregory' is that we try to make it really questionable that the things he says have happened, have really happened. We like that ambiguity.
Even now I try to make each page compelling for the readers to get absorbed in the book.
When the characters are believable and endearing, action scenes, for example, make an impact. Otherwise, the audience gets no kick out of action. The biggest strength of 'MCA' is that its characters are real.
Musicians playing together, it's a conversation, and ideally I want our conversation to be really intriguing and interesting and beautiful.
I like a film that makes the audience feel like they are in the middle of life as it is moving, and in a way, they are catching up. They are thrown into things.
