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On 'Sufferer,' I'm talking about the younger generation that has no other option for success than to find a gun somewhere. I try to appeal to them: 'I know you a sufferer, but it doesn't mean that you can't or shouldn't expect any better.' It's a lot different than from what I usually say, like, 'Get busy, shake that thing.' ↗
I've come to recognize what I call my 'inside interests.' Telling stories. And helping people tell their stories is a sort of interpersonal gardening. My work at NBC News was to report the news, but in hindsight, I often tried to look for some insight to share that might spark a moment of recognition in a viewer. ↗
One's teachers all belonged to that generation who were imperialists, and the whole narrative throughout my adolescence was of countries leaving the empire. I find it extraordinary that this purpose which drove how we viewed the world is now considered to be something that has no effect upon us. ↗
As a rule, anyone who can tell a good story can write one, so there really need be no mistake about his qualification; such a man will be careful not to be wearisome, and to keep his point, or his catastrophe, well in hand. ↗
I'll generally write out every scene that's in the film on a couple of pieces of paper, just with a little one-line. And then I can scan it a bit and go, 'This first third of the film, generally, I'm kind of calm.' Then I might do something on one piece of paper that just relates to the energy of the character. ↗
