A Killing on Carnival Row, the script that basically launched my career, was written in my college dorm. I had four sheets of paper taped to the wall, on which I drew a map of the fictional city in which the film is set. These days, that map is framed in my office.
Flying over the Grand Canyon.
It’s a genre thing, the size of something like Pan’s Labyrinth or District 9. You know, big enough to take the viewer somewhere, but not so big that it can’t afford to be too idiosyncratic. It’s an idea that’s been floating around up there for a while, and lately I’ve been trying to make time to get it down. In the fog of deals and deadlines, it’s important to carve out time to work on stuff that nobody is asking for yet. Every idea begins off the radar. I had the idea for Pacific Rim during a time in which every meeting and deadline was about a far more recognizable project - that still hasn’t gotten made. So the original, off-the-radar stuff can turn out to be quite important. This particular curiosity that I’m working on at the moment is a story that’s very close to me. So much so that my intent is to direct it at some point.
It’s World Lion Day! #worldlionday
Mostly, I write love stories with monsters in them.
The Great Mosque of Xi’an is over a thousand years old. Unlike Arab mosques, the architecture is entirely Chinese. It even has Chinese-style pavilions instead of minarets. #China #Xian #GreatMosqueofXian #architecture
This used to be a slab of rock, until somebody came along with a hammer and chisel and made it look exactly like a delicate, naked woman putting up her hair. Sculpture, more than any other artistic medium, utterly confounds me. It’s basically sorcery.