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From now on, any flick I'm ever involved with, I conduct critics screenings thusly: 'You wanna see it early to review it? Fine: pay like you would if you saw it next week.'
You can have 10 bucks to 10 million bucks and if you got a crew, imagination and a lot of people willing to turn in some work next to nothing, you going to have a feature. But you can't get beyond how expensive marketing the movie is, it's so crushing.
The writer crafts their ideal world. In my world, everyone has really long conversations or just picks apart pop culture to death and everyone talks in monologue.
I know what it feels like to carry a lot of weight in a society that's very image-conscious. It's a thin person's world, and we try to navigate within it without being made fun of.
Storytelling is my currency. It's my only worth. The only thing of value I have in this life is my ability to tell a story, whether in print, orating, writing it down or having people acting it out.
There's something to be said for failing. It's not the failure you feel, it's the failure that people project when something disappoints. You're back to ground zero, where there's no expectations, and that's where I like to be.
But I remember one thing: it wasn't me that started acting deaf, it was people that first started acting like I was too dumb to hear or see or say anything at all.
. . .sometimes reading the same page over and over, until one sleepy afternoon something clicked, like a lock unlocking, and she saw those printed doors swing open on a vast house of words.