It seems to be the sense that once you throw guys in prison they're not going to come out. No, they're going to come out and, you know, what kind of beast have you created from that process?

Having a mother who has had cancer and fought through it and at times used cannabis to you know fight off nausea and whatnot. I mean it's not really her thing, but there were times when she needed it and the idea that you can't have it because it's an illegal drug, but OxyContin is legal. That's you know that's just insane to a level that I think most people understand.

One of the things that sets Oliver Stone apart though is he is commercial. He is mainstream. He makes big movies and he is one of the last guys that can make big movies that actually have something to say, that you know challenge the audience in a way while entertaining them.

My father probably taught me everything I know, aside from dialogue, which I think I get from my mom a lot more. He certainly didn't teach me everything he knew, but you know he has got this book out called "The Spooky Art," which is essentially an advanced book on writing and it's not... You know it's not ABC, but it's for people who feel that bug and know that they're writers and are willing to put in that time alone. Pretty much the vast majority of what he taught me you can find in that book.

The thing is, to try to talk about a performance that will never be seen again, that was only lived by the people there, it's kind of like telling somebody about your dream. You know if they love you they'll listen and smile, but they can't really get it, so there is a certain infinite quality to film that is nice. You do the work and you know it's always going to be there. The flip side is if you do bad work it's always going to be there.

I think that Anderson Cooper does a great job of staying with stories and pushing them. New Orleans he really... He was there and he pushed it past the point where his producers were saying, "Listen, you've got to stop because people are tuning out now. You know, we're on to another disaster." You know, what do you worry about, Haiti, Chile, Turkey? What? You know where do you put your attention and your focus? So for one person to really be able to cover all that ground would be tough.

Really there's different scales of stories. Sometimes you want to tell one that 20, 30, 40, 50 million people will want to see and hear. Sometimes you do one that you know 150 will want to see on one night. As long as you're telling the right story for the right audience and they're getting something out of it it's essentially the same feeling to me.