I want to use my gifts to tell the truth, and to tell it as beautifully as I can.
I learned that I enjoy directing a lot more than I enjoy writing, which is interesting, because writing is lonely and infamous basically.
I know what I want. I try and convey that at the beginning and set that out, but within those parameters, I'm very happy for them to experiment and try things and give it a go. To me, it's important.
I think improvisation is really crucial in terms of making things feel real and authentic.
In terms of magnifying it and making it plausible, I'm a great believer in truth in comedy.
It's tough to make funny films. And the truth is, with this process, especially if you write your own movie, then you're giving three years of your life to it. And so, I just have to be sure that when I embark on it that I'm happy to think that in three years' time I'm going to be sitting in a room on the tenth floor of an odd office building at Ginsberg Libby talking about it. So I'm keen not to jump into it too quickly and just make sure it's something that I really want.
And then, movie-wise, I'm writing a couple of things. They're all comedies. It's the only way I know. I'm also being sent scripts, which is really nice, kind of off the back of this, so I don't necessarily have to generate my own stuff. I'm just looking for something that's explosively funny and relatable in equal measure.
Familiarity is a magician that is cruel to beauty but kind to ugliness.
One of my sensory problems was hearing sensitivity, where certain loud noises, such as a school bell, hurt my ears. It sounded like a dentist drill going through my ears.
It'll be dangerous," Nyssa warned him. "Hardship, monsters, terrible suffering. Possibly none of you will come back alive. " "Oh. " Suddenly Leo didn't look so excited. Then he remembered everyone was watching. "I mean. . . Oh, cool! Suffering? I love suffering! Let's do this.
The experiences show us just as we are; they make us see our own defects.