My mentor Jon Simmons introduced me to the Stanislavski system, which is so heavy on back-story. So you write and write and write these back stories about a character and then you throw it away. So then on set, if it doesn't come, then you didn't do your work.
History can bring luck: this is what we can call optimism.
Without words, without writing and without books there would be no history, there could be no concept of humanity.
Writing a screenplay is like writing a big puzzle, and so the hardest part, I think, is getting the story.
I think the worst that can happen in filmmaking is if you're working with a storyboard. That kills all intuition, all fantasy, all creativity.
Why go to Antarctica, why do a film like 'Grizzly Man'? It's the sheer joy of storytelling - it's the urge.
History is the key to everything: politics, religion, even fashion.
Nigeria has had a complicated colonial history. My work has examined that part of our story extensively.
People from different parts of the world can respond to the same story if it says something to them about their own history and their own experience.
Once a novel gets going and I know it is viable, I don't then worry about plot or themes. These things will come in almost automatically because the characters are now pulling the story.
I don't know the history of my sport. I'm not like those people who know everything.
Whichever character I'm using and wherever I am in my mind dictates what kind of story I'm going to tell.
I wanted to do pretty much a purely boy story, yes. The girls are kind of the bad guys in 'Marble Season', although that wasn't my intention. It's also a world without adults.
I do consider myself part of black history.
If you're here right now in your life, your journey continues and you've lived to tell the story.
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