'Glass Sword' has several set piece scenes that I plotted out or visualized before I wrote them, but I always knew they were coming. They anchor bits of the story.
Jerry picked up the technique of visualizing the story as a movie scenario; and whenever he gave me a script, I would see it as a screenplay. That was the technique that Jerry used, and I just picked it up.
I went to Vortex and Vortex is a whole 'nother story.
I'm a voyeur. I say that with no embarrassment. If I could have a superpower, being invisible would be it, no question. I'm fascinated by human behavior; observing people and seeing how much story gets told without a lot of dialogue, and how much our brain fills in.
Needless, heedless, wanton and deliberate injury of the sort inflicted by Life's picture story is not an essential instrument of responsible journalism.
I wanted to use my story of starting Netflix - the whole thing, warts and all - to show how a dream could make it from the inside of one's head out into the real world.
It would seem that the Watergate story from beginning to end could be used as a primer on the American political system.
Fortunately, John Houseman is a marvelous writer and he sat in on so many story conferences. He worked with Welles, you know, and he's a marvelous man.
So I'm not really quite sure what Landis' plans were to make another one. The American Werewolf in Paris was a completely separate story.
My mom has a tape from when I was, like, 2 years old, talking with my grandma, telling her a story that's really elaborate about werewolves and wolves.
I auditioned for 'West Side Story' just like everybody else, and I nearly had a heart attack, because I hadn't danced in about - oh, I don't know, about 15 years.
I'm not really a big musical fan. I enjoyed 'West Side Story' when it came out, but it gets a bit tired in the end.
West Side Story was terribly important because of the style of the dancing and the gangs of New York.
If there were a song from 'West Side Story' that I would do, it would be 'Something's Coming,' but in a sense that put it in the right key for me and then do that one.
Coalwood, West Virginia, is the little coal-mining town where I grew up, and it was there that five other teenage boys and I famously built and launched rockets. I recounted this story in my memoir, 'Rocket Boys.'
I used to get stuck trying to find the first sentence of a story, then I realised that it was often because I didn't know what problem a character was facing in the story. As soon as I did, I could have the character trying to do something about it or have the problem whack him between the eyes.
Everybody has those stories that make them wince when they think about them silently. But as soon as you tell that story, it becomes a little bit less cringe-inducing.
There is a real hunger for information about Obama and a sense that information is not being covered or, in some cases, even being withheld. There is a sense that there are elements of the media that are protective of Obama, that they would rather block a story that is embarassing about Obama than let the American public decide.
I was very attracted to doing 'The Wolverine' in Japan because that's my favorite chapter in the story of Wolverine. But I'm not a superhero guy.
When I cook certain dishes, I smell my grandmother's kitchen, my grandmother's smells. I thought, 'What a wonderful way to tell a story.'
