My paintings capture the humor, zaniness, and depth of the Batman villains as well as the Freudian motivations of Batman as an all-too-human, venerable, and funny vigilante superhero.
If you are striving to have more happiness in your life, it helps to guide your mind towards starting to recognize what are selfish motivations and what are constructive motivations.
Sequels are generally done in a rush. They're done with a sense of urgency. The first time, you spend a long time developing to get it over the line. The second time, you don't. Your expectations are different, and your motivations are different.
I'm a stickler for structure. So I tend to make sure I'm hitting certain points in the script and that I'm progressing and moving things along. You know, are the characters keeping the plot moving along? And are they true, and do I know their motivations?
The distinction is large in my mind. The gay police captain is eventually going to be wearing hot pants and singing 'YMCA.' The police captain who happens to be gay is going to be a huge collection of personality characteristics and motivations.
I want to be the world's number one one-day player; I want to win a World Cup, win the championship with Lancashire - those are my motivations.
I don't think most people are all heroic or all villainous, so I find ambiguity of motivations to be a natural human condition.
I don't do villains often enough. There are two approaches: give them sympathetic, reasonable motivations for doing the most unspeakable things, or get inside heads that are interestingly broken.
There's nothing ever monetarily or fame-seeking or any of the other motivations that sometimes go hand-in-hand with this profession. To me, it's just not like that. I'm on a journey of self-discovery and trying to avoid total existential crisis. That's the kind of operating zone that I'm approaching this business from.
Often, writer's block will occur when I don't understand a character or his/her motivations. So I will make notes analysing characters.
