If the security personnel do their job properly, they just might cause you to miss your plane, thereby possibly saving your life.
I have a tremendous respect for writers who scribble away their torments, and their passions into plays.
Basically I was a theatre fanatic. I had a job with Home Box Office as a theatre consultant for a long time.
I just started to want to be more hands on, and again, because of the nature of this job which was to evaluate the writing apart from the production, I got clear on what a director did and I became interested in directing, so I started to do that in the late 80s.
What was good was that I had friends who were actors and in theatre who were really good, because I think my strengths were visual, like pictorial.
I hadn't studied theatre and I hadn't studied actor training or anything, but I did have a sense of movement and composition, and what the final product would be like, but luckily I had friends who were good actors, who would help me get them, who would get themselves to the place where a good director should get them to build characters.
I like to get produced. I'm not saying I write to be commercial, I mean "Hazelwood High" they light a girl on fire, so it wasn't the most.
A red map isn't easy to follow. Any document made of blood and bones is tricky. Wrong turns are easily made, and there are often piles of stones in the road. A person has to disregard time and sorrow and all the damage done. If you follow, if you dare, the thread always leads to whomever or whatever you've forgotten.
I like to think of power back in its Latin root, its meaning comes from posse - to be able.
In a one-hour documentary, you can tell maybe ten stories. That's how the documentary is structured. I wrote to forty of the greatest historians of both African and African-American history, and hired them as consultants. I had them submit what they thought were the indispensable stories, the ones they felt this series absolutely had to include.
Publish and be damned.