After preliminary research, I zero in on an idea, and then I spend at least four months exploring the topic and in plot-building. I jot down every single detail of the plot as bullet points per chapter, and only when the skeleton is complete do I start writing.
As the oceans get hotter, corals also become heat-stressed and expel the algae that live on their skeletons, resulting in coral bleaching events that can wipe out entire reefs. This destroys the habitat that supports a quarter of all marine life.
I just did this movie with Kristin Wiig called 'The Skeleton Twins.' That's a straight drama. We play estranged twins, and I end up moving in with her and her husband, played by Luke Wilson. But it's a drama, and the Duplass Brothers produced it and this great guy, Craig Johnson, directed it. And that was great, you know?
Every two months, I would get an email, 'Skeleton Twins update: still don't have the money!'
I started thinking that if post modernism is about people opening up all their skeletons, I'm going the other way. I don't want anyone knowing anything about me anymore.
I was a skeleton compared to what I used to be, but it didn't matter. Nothing really mattered except remaining unbroken.
Behind bars, everyone's an inmate. Everybody has their skeletons; everybody has their story.
Plot is what happens in your story. Every story needs structure, just as every body needs a skeleton. It is how you 'flesh out and clothe' your structure that makes each story unique.
I love rewriting because that is where and how you discover the story. It's like you have this skeleton, and you get to put flesh on it and hair and clothes and really wonderful jewelry.
There's got to be a backbone, there's got to be a skeleton to the whole way I perform, but you never want to hit the same note twice during a performance, I think. I think it's always got to be fresh so it doesn't bore me, and I always want to go out on edge.
