It is photography itself that creates the illusion of innocence. Its ironies of frozen narrative lend to its subjects an apparent unawareness that they will change or die. It is the future they are innocent of. Fifty years on we look at them with the godly knowledge of how they turne dout after all - who they married, the date of their death - with no thought for who will one day be holding photographs of us.

Something has happened, hasn't it? ... It's like being up close to something so large you don't even see it. Even now, I'm not sure I can. But I know it's there.

We knew so little about eachother. We lay mostly submerged, like ice floes with our visible social selves projecting only cool and white. Here was a rare sight below the waves, of a man's privacy and turmoil, of his dignity upended by the overpowering necessity of pure fantasy, pure thought, by the irreducible human element - Mind.

Screenwriting is an opportunity to fly first class, be treated like a celebrity, sit around the pool and be betrayed.

She returned his gaze, struck by the sense of her own transformation, and overwhelmed by the beauty which a lifetime havit had taught her to ignore.

Observing human variety can give pleasure, but so too can human sameness.

Narrative tension is primarily about withholding information.