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“I was a Teletype operator in the army, so that's where I learned to type. One day, I went downstairs to see if I could still type - I hadn't done it for four or five years after the war. So I typed out a page and I showed it to my wife and she said, "Where did you get this?" I said I wrote it. "You wrote this?" It was something very funny. I went and wrote another page, another couple of pages, and by the time I was finished I had 13 little short stories, humorous short stories.”

“In a 22-page comic, figuring an average of four to five panels a page and a couple of full-page shots, a writer has maybe a hundred panels at most to tell a story, so every panel he wastes conveying a.) something I already know, b.) something that's a cute gag but does nothing to reveal plot or character, or c.) something I don't need to know is a demonstration of lousy craft.”

“Printed prose is historically a most peculiar, almost an aberrant way of telling stories, and by far the most inherently anesthetic: It is the only medium of art I can think of which appeals directly to none of our five senses. The oral and folk tradition in narrative made use of verse or live-voice dynamics, embellished by gesture and expression--a kind of rudimentary theater--as do the best raconteurs of all times. Commonly there was musical accompaniment as well: a kind of one-man theater-of-mixed-means.”

“[Facebook] is shaping a broader web. If you look back for the past five or seven years, the story about social networking has really been about getting people connected... But if you look forward for the next five years, I think that the story people are going to remember five years from now isn't how this one site was built; it is how every single service that you use is now going to be better with your friends.”

“When you get to work with great people like on our movie, Blake and Ellen Burstyn and Harrison and Kathy Baker, Amanda Crew, the first minute or two it's like, 'Oh my God, I'm working with you,or Harrison,' people you've admired for so long, after like five minutes you realize we're all trying to do the same thing, we all have a passion for telling good stories and we're going to try to make the story the best possible.”

“I think all cinematographers, at least most of them, would love to do everything on location because you cannot cheat on location. It's there, it's part of the story usually. You have to deal with the elements. You have the sunshine, you have rain, you have fog - it really makes you work harder to try to match things during the day to make it look like it was shot within five minutes, movie time.”

“Americans are wonderfully courteous to strangers, yet indiscriminately shoot kids in schools. They believe they are masters of the world, yet know nothing about what goes on outside their shores. They are people who believe the world stretches from California to Boston and everything outside is the bit they have to bomb to keep the price of oil down. Only one in five Americans hold a passport and the only foreign stories that make their news are floods, famine, and wars, because it makes them feel good to be an American. Feeling good to be American is what they live for.”

“The Chicago City News Bureau was a tripwire for all the newspapers in town when I was there, and there were five papers, I think. We were out all the time around the clock and every time we came across a really juicy murder or scandal or whatever, they'd send the big time reporters and photographers, otherwise they'd run our stories. So that's what I was doing, and I was going to university at the same time.”

“It's funny what [producer Richard Zanuck said about even though you can't quite place when the book or the story came into your life, and I do vaguely remember roughly five years old reading versions of Alice in Wonderland, but the thing is the characters. You always know the characters. Everyone knows the characters and they're very well-defined characters, which I always thought was fascinating. Most people who haven't read the book definitely know the characters and reference them.”

“I chose the American ones, more or less the last five years of the silent era, because those are the ones that aged the best in the way they tell the story. One, it's about human beings with context. It's a very classical story with feelings, with laughter, melodrama and it really works, the good ones - Murnau's American movies, John Ford's Four Sons, King Vidor's The Crowd, or the (Josef) von Sternberg movies. You can watch it now and it still works. I mean they are really, really good pieces so this is where I tried to work.”

“Those type of people [in New Orleans] keep me happy and just smiling, you know? I just go hang out and talk with them and they tell me all types of old stories, and sometimes I might even pull my horn out in the middle of the block, and they're playing on beer bottles and different things, and we just do a little second line type thing, just us, four or five people, who are just having fun. That makes me day to be able to do that and go hang out with the people in the (Treme) neighborhood, and to do some shows around town, you know?”

“The story we hear over and over again is: Boy in science class, very nice to the girl, says, "Please come to our party on Saturday night." She, of course, shows up. He hands her two, three, four, five drinks. She becomes so inebriated he says, "You can sleep it off in my room. It'll be safe." Or, "I'll walk you home." It's all premeditated with the intention of having sex with that woman without her consent when she's passed out. It's a huge issue.”