Everything's intentional. It's just filling in the dots.
The purpose of technique is to free the unconscious. If you follow the rules ploddingly, they will allow your unconscious to be free.
Every scene should be able to answer three questions: "Who wants what from whom? What happens if they don't get it? Why now?
When the three branches of government have failed to represent the citizenry and the mass of the media has failed to represent the citizenry, then the citizenry better represent the citizenry.
One person may need (or want) more leisure, another more work; one more adventure, another more security, and so on. It is this diversity that makes a country, indeed a state, a city, a church, or a family, healthy. 'One-size-fits-all,' and that size determined by the State has a name, and that name is 'slavery. '
Forget narrative, backstory, characterisation, exposition, all of that. Just make the audience want to know what happens next.
The main question in drama, the way I was taught, is always, 'What does the protagonist want?' That's what drama is. It comes down to that. It's not about theme, it's not about ideas, it's not about setting, but what the protagonist wants.
Truth is the highest virtue, but higher still is truthful living.
The world belongs to who doesn't feel. The primary condition to be a practical man is the absence of sensitivity.
The vision is really about empowering workers, giving them all the
I think in the coming decade we will see well-conducted research demonstrating that emotional skills and competencies predict positive outcomes at home with one's family, in school, and at work. The real challenge is to show that emotional intelligence matters over-and-above psychological constructs that have been measured for decades like personality and IQ. I believe that emotional intelligence holds this promise.