Quotes of All Topics . Occasions . Authors
When I was in the middle of the 'Scott Pilgrim' series, and it was slowly becoming more popular, though still not financially solvent, I had this real bratty instinct to turn around and do something super arty and dark. I felt dismissed by comics culture, stuck in between the artcomix world and the nerdcomix world, and I was cranky about it.
The first series of 'McMafia' is very Alex Godman-centric and could continue to be, but we haven't even begun to explore the Middle East or Africa or even South America in detail. One of our ambitions would be to drop into some of these other places and, by doing so, bring the audience into a world that they wouldn't necessarily have been in.
Cinema is a visual language, and you're always looking for visual metaphors for things. You know, if I was writing a play about Howard Hughes, I could have him give a monologue about how he's terrified to touch a doorknob. But on screen, you know, working with Marty Scorsese in 'The Aviator,' that became the series of images that told a story.
Over the years, there have been a series of concepts developed to justify the use of force in international affairs for a long period. It was possible to justify it on the pretext, which usually turned out to have very little substance, that the U.S. was defending itself against the communist menace. By the 1980s, that was wearing pretty thin.
I could have been in a house show the day before being flown in to do the Survivor Series. I'd do that pay-per-view, then fly out the next day to go do another house show. The pay-per-view just happened in the middle of a 30 or 40-day road tour. For us back then, the WWF talent, it was just another day of work, another day of being on the road.
We try to guide with a light touch. Sometimes we can be helpful, and my goal with my team, both on the series side and on the film side, is that the collaboration should always be invited. In other words, we're not looking to impose our view on the filmmaker; we hire a storyteller because we love the story, and we love their ability to tell it.
'Ice Cold' is the eighth in my 'Rizzoli and Isles' thriller series. It was inspired by a true occurrence in the 1960s, now known as the 'Dugway Incident,' in which 6,000 sheep mysteriously died overnight in a remote area of Utah. I thought, 'What if it happened instead to people? What if the inhabitants of an entire village vanished overnight?'
The '30 for 30' strand started life as a series of behind-the-scenes docs for the sports channel ESPN. It has now spawned an equally fascinating series of podcasts. Like the films, these podcasts don't rely on access, the usual currency of sports journalism, and are strangely excited by stories that are complicated and require telling at length.
The fact that guys adjusted really quickly to the big leagues, developed really quickly, faced adversity under the brightest spotlights, played great baseball, overcame so much, overcame centuries worth of issues and won a World Series, I guess it doesn't necessarily mean we're still not just prone to the laws of nature and reality and baseball.
'Game of Thrones,' people say that it's a fantasy series, but it's a hell of a lot more than that. It attracts the so-called geeks and nerds, and God bless them, they're wonderful for getting right into the show. But primarily it's about family; it's power and betrayal and jealousy. It's all those wonderful things that a fantastic drama is about.
What we know is that the environmental movement had a series of dazzling victories in the late '60s and in the '70s where the whole legal framework for responding to pollution and to protecting wildlife came into law. It was just victory after victory after victory. And these were what came to be called 'command-and-control' pieces of legislation.
