It's naturally kind of humiliating and strange to have a microphone; when you're young you just make movies, you don't worry about all the peripheral stuff that comes with it.
Don HertzfeldtTo me everyone goes through that at some point in adolescence, you know. There's - you meet someone when you're a young teenager, and they're never right for you, and you always wind up hurting someone on the way to figuring out all this stuff. But it was a fun writing process.
Don HertzfeldtAfter working so long on something like this, it's great to go out and meet people and see the reactions and remind yourself that, oh, yeah,, I wasn't just working in a cave by myself for no reason...
Don HertzfeldtIt's great for me to hear those different reactions because when I travel with a movie like this [World of Tommorow], it's very similar. You'll hear a line in one city get a big laugh, and then in another city, the same line kind of gets a gasp, and that's wonderful.
Don HertzfeldtThe design is a really flat primary color with all sorts of abstract geometric shapes, just implying something. And then you'd have your characters running from something with guns. It was very expressionistic.
Don HertzfeldtSo much of the writing is not conscious, in the sense that it's not calculated. I remember in film school we had so many studies with big fancy words where you could dissect a movie and make charts of all of the characters' complicated inner relations and themes and what does this mean? And it's overwhelming as a student. It's great for a student, but as a writer, it's paralyzing.
Don Hertzfeldt