All rhetorical questions are accusations.

Always do things the least interesting way, the most blunt way, and you make a better movie. This is my experience.

Any time two characters are talking about a third, the scene is a crock of s***.

I've been training in Jiu-jitsu for about six years and I'm very fortunate to live in that world. All the fighters hang out and have lunch together just about every day and trade stories. And I've always been fascinated how in the world of Jiu-jitsu in L.A. everybody in the fight world - cops, special forces, bouncers, stuntmen - connected across different lines.

I pray you indulge me for a space, for I am going to set out on a speech which may have some duration, but whose theme may be gleaned from its opening phrase: how dare you.

A good writer gets better only by learning to cut, to remove the ornamental, the descriptive, the narrative, and especially the deeply felt and meaningful. What remains? The story remains.

In a world we find terrifying, we ratify that which doesn't threaten us.