To think in terms of what the effect of a story is going to be, as opposed to trying to discover its inner logic, is one of the fundamental dangers in the process.
Interpretation
Focusing on the impact of a story rather than its underlying structure can lead to creative pitfalls.
David Milch highlights a critical aspect of storytelling: when creators prioritize the expected effects and responses of their audience over the inherent logic and structure of the narrative, they risk compromising the authenticity and depth of the story. This quote serves as a reminder for artists and writers to maintain a balance, ensuring that their works resonate both emotionally and intellectually, rather than solely aiming for immediate audience reactions.
In practice
In a discussion about the importance of authenticity in storytelling, this quote could emphasize the need for depth in narratives.
Your hands are like dogs, going to the same places they've been. You have to be careful when playing is no longer in the mind but in the fingers, going to happy places. You have to break them of their habits or you don't explore; you only play what is confident and pleasing. I'm learning to break those habits by playing instruments I know absolutely nothing about, like a bassoon or a waterphone.
I attempt to create a form of seriocomic entertainment to either delight, enlighten, or disgust, whichever you'd like. In terms of making motion pictures, I write and direct and act. I guess you'd say I'm a filmmaker.
If I were just curious, it would be very hard to say to someone, I want to come to your house and have you talk to me and tell me the story of your life. I mean people are going to say, You're crazy. Plus they're going to keep mighty guarded. But the camera is a kind of license. A lot of people, they want to be paid that much attention and that's a reasonable kind of attention to be paid.
I'm going to take the kids away over Christmas but I don't, I've written 14 musicals now, I don't want to rush into doing something just for the sake of doing it. I want to do it when I find a story.
I thought the most beautiful thing in the world must be shadow, the million moving shapes and cul-de-sacs of shadow. There was shadow in bureau drawers and closets and suitcases, and shadow under houses and trees and stones, and shadow at the back of people's eyes and smiles, and shadow, miles and miles and miles of it, on the night side of the earth.
To be a film-maker, you have to lead. You have to be psychotic in your desire to do something. People always like the easy route. You have to push very hard to get something unusual, something different.
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