Listening feels a little like watching a river move through a cluster of rocks, breaking apart for a moment and then merging. But the rendition that really gets me, that I keep playing again and again, is a slowed version of Landis' original—about 32 minutes, or five times the initial length. To go back to that river, it's like the water is half-frozen now, moving between the chutes of rock with the speed of a slurry.
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I feel like I spent the first decade of my career trying to seem normal and trying to seem palatable and trying to seem like I wasn't too much or too weird or too specific. And I think that the things about myself that I tried to hide are the things that now I'm trying to put at the center of the work.
Betty Gilpin — Fresh Air
I think the goal is to find things that feel anti-algorithm — stories and characters that couldn't have been generated by a machine trying to please everyone. And weirdly, I think that's what connects with people the most, because audiences can feel the difference between something that was made to be consumed and something that was made because someone was burning to make it.
Betty Gilpin — Fresh Air
I think that somewhere along the way I internalized an idea that the goal was to sand off all the strangeness until you become a surface that lots of people can project onto. And what I found is that the more I did that, the more I disappeared, and the more I leaned into specificity and strangeness, the more people seemed to connect.
Betty Gilpin — Fresh Air