I think it's great when stories are dark and strange and weirdly personal.
Interpretation
Embracing the unconventional in storytelling can lead to more profound and personal narratives.
Robin Williams emphasizes the value of darkness and strangeness in stories, suggesting that these elements can create a deeper connection with audiences. By sharing personal and unconventional narratives, storytellers can evoke stronger emotional responses and reflections on the human experience.
In practice
In a literature class when discussing the significance of dark themes in novels.
It's that idea that you can have one drink - and no you can't. Within a week I was drinking heavily. It was so quick that even I was like, 'Wow.' Because you have that initial warm feeling going, 'Oh, I remember this'. And your body does, too. And your body goes, 'Yeah, so do I'. Then the demon voice comes, 'Yeah, so do I. You know what would be great? You know we bought a little bottle before? A full bottle would be wonderful'.
I always thought the idea of education was to learn to think for yourself.
Sometimes over things that I did, movies that didn't turn out very well - you go, 'Why did you do that?' But in the end, I can't regret them because I met amazing people. There was always something that was worth it.
I've never been asked to appear on 'I'm a Celebrity... Get Me Out of Here!,' so I guess I mustn't be on the professional skids just yet.
The Statue of Liberty is no longer saying, 'Give me your poor, your tired, your huddled masses.' She's got a baseball bat and yelling, 'You want a piece of me?'
I write on big yellow legal pads - ideas in outline form when I'm doing stand-up and stuff. It's vivid that way. I can't type it into an iPad - I think that would put a filter into the process.
Fiction—and poetry and drama— cleanse the doors of perception.
We don't really want to think that the artist is only very skilled, that he has merely devoted his life to perfecting a certain set of intelligible skills.
The fact that we're at a point today where anybody, anywhere can put a comic book together and get it in front of the entire planet without spending a dime on printing and distribution - that's the good thing, and I think that's what's going to save [the comics industry]. These young people who have nothing to do with the industry we're in, just going out there and doing their own work and putting it out there, letting people respond to it.
When you get down to it, the way that the music affects you individually is the most important thing, and when you let things like the location of a band get in the way or have an effect on your overview, you're cheating yourself out of a really good time.
My work is not about paint. It's about paint at the service of something else. It is not about gooey, chest-beating, macho '50s abstraction that allows paint to sit up on the surface as subject matter about paint.
I'm a storyteller who wants to tell untold, meaningful, universal stories in unforgettable ways. I want to do it all, study it all, and find my place in it.
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