Listen, my day job is also Chief Creative Officer for Marvel, and it's a very painful job because we publish a lot of books, and there are things I see where I can punch people out. Therefore, we have some new people now, and the kids are going to read our books.
When I was starring as Roxie Hart in 'Chicago,' I got my stiletto heel caught in my fishnet tights and fell flat on my face. It was incredibly painful and not something you can cover up.
My parents are divorced, and seeing that was really painful for me. Really painful for me. But that's also a big part of why I'm intrigued by the dynamics between people - because I was close to something that fell apart.
Certain things can't be approximated, so I'm always interested in getting in another way, one which makes the reader bend in closer to the scene even if that scene, especially if that scene, is painful... Brutal language isn't necessarily the most truthful way of describing a brutal moment.
There's a point at which writing a book, or a long article, begins to feel like mental labor, and it's too painful to connect in the world in any real way mid-process. The only way to survive is to write until it is all said and done.
An author entices the readers with their words, and it is painful for them to even lose a sentence. But films and books are two different mediums and should be dealt differently. What works in a book might not work for a film. When I saw 'Anna Karenina' on screen, I didn't like it at all, whereas 'The Godfather' was legendary.
I like that I've been through things, that when something happens, it resonates with something that already happened. It's not that things like loss are more or less painful. But they're deeper. I find that fascinating.
