I never play a villain that I don't have something I can either do or say so the audience sees there is something redeemable about them. In other words, I don't want to do evil for evil's sake. I don't want to do Jason slasher movies. There's no point in that.
As soon as I began, it seemed impossible to write fast enough - I wrote faster than I would write a letter - two thousand to three thousand words in a morning, and I cannot help it.
Probably some of the songs I never even really listened to the lyrics. Half of them I'd hear off the radio and was probably singing the wrong words and didn't even know it.
But my question is, am I compromising by adapting my words for the audience and where is the line beyond which I am not adapting words, but changing my position?
I don't begin a novel or a screenplay until I know the ending. And I don't mean only that I have to know what happens. I mean that I have to hear the actual sentences. I have to know what atmosphere the words convey.
If you look closely, there is no book more visual than Three Trapped Tigers, in that it is filled with blank pages, dark pages, it has stars made of words, the famous magical cube made of numbers, and there is even a page which is a mirror.
