When I first moved from photography to filmmaking, I was worried about how big I had to become. I was one person, or maybe me and an assistant, and I had these small cameras, and maybe a flash.
I think if I hadn't had the dance background, it would have been much harder as a kid to be like, 'I'm going to be an actress.' But you're involved with one area of the arts and other things interest you. It feels like an easier move.
I'm not a boy now. I'm a man, I hope. I hope I've had my artistic bar mitzvah somewhere.
I wrote six nonfiction books before getting into narrative fiction with 'Robopocalypse,' including 'How to Survive a Robot Uprising.' My goal all along was to start writing fiction, and I guess one day I'd just had enough.
Let my life as Poet begin. I want the life of the Poet. I have labored for over twelve years, one thousand pages of prose. Now, I want the easiness of poetry. The brevity of the poem.
My transition from wanting to be a cartoonist to wanting to be a writer may have come about through that friendly opposition, that even-handed pairing, of pictures and words.
I grew up in the '60s, which was a creative time, so it wasn't that big of a stretch to go from a baseball bat to a guitar to a film camera.
I don't know if I'd mastered that documentary format, but I wanted to move on from it.
I've been to Sundance eight times as a publicist and thought I was very prepared. I mean, who could've been more prepared for me? A publicist who's been there eight times. Getting there as a filmmaker was a completely surreal, different, unexpected experience.
Film was something that I didn't see as a step up from music videos, though obviously, music videos, the fact that you work with a crew and a film camera, are the closest to film I've ever been. That is the only schooling I've ever had.
I was an artist before I got into interiors.
It's now time for me to pass Star Wars on to a new generation of filmmakers. I've always believed that Star Wars could live beyond me, and I thought it was important to set up the transition during my lifetime.
I played piano for cabaret stars and stuff and then eventually moved from my hometown of Perth in Western Australia to Melbourne, and somewhere in there, I decided to book myself a room and do a cabaret show of my own material.
One of the things that motion capture and/or voice acting does is allow you to continue your career, change it, or bring a new aspect to it.
If you're lucky, you go from being a movie fan to a movie maker.
It's sort of one ongoing process where writing ends and directing starts.
My husband wrote the story for my first book, but then he didn't want to do that anymore. So if I was going to go on being an illustrator, I had to start writing the stories, too.
"Novels and gardens," she says. "I like to move from plot to plot."
I actually went to film school and was making experimental films for a short time, so it wasn't such a leap.
I knew I would always be an artist, but when you move to Nashville, this is a writer's town. I moved here to focus on that and started pitching demos and immediately was asked to be an artist.
After Land I wanted to continue exploring the theme but I needed a new challenge so turned to colour. I explored Bradford and produced a series of urban landscapes that I liked, but because Land had made such an impact on the general public my colour work wasn't reviewed.
I was just this video-store guy and now I was actually making movies and stuff.
I was always making memes, and now I have music.
I actually started out as a writer and then converted to illustration because I realised that there was a dearth of good illustrators in genre fiction, at least in Australia at that time.
I was dating girls who were actresses, and that was fun, so I took a playwriting class. But that was short-lived. That was one year. Around that time, I was seeing movies that were making me think in terms of images.
