If we went back to the imprisonment rate we had in the early '70s, something like four out of five people employed in the prison industry would lose their jobs. That's what you're up against.
I mean, like a lot of kids growing up in the early seventies, I was fed Dr. Kissinger with my Fruit Loops. He was the Dr. Ruth of American foreign policy, and the model statesman.
It was natural to see the struggle for dignity for black people in America as a sister struggle of the Jewish struggle. So growing up, it was always a part of my breakfast cereal to think of myself as someone who was part of a larger struggle.
The only thing we don't do together is get in front of an actor and show any indecision at all about what we think. We don't always agree, so we meet privately, then one or the other will approach the actor.
In the case of 'Blood Stone,' the producers, EON, Michael Wilson, Barbara Broccoli, David Wilson and Gregg Wilson, had an idea for a story and had a lot of it done. And I came in, worked with them, fleshed it out.
Bond is a classic archetype character, a character that's embedded in our heads forever, one of a lone warrior setting out to avenge a nation - and you find that character across cultures.
I got into writing to become a 'Star Trek' writer. I was a rabid fan. I had shelves and shelves and shelves of action figures in my bedroom that scared away more dates than I care to admit to.
Horror films have always been quite operatic for me. I always sort of scratch my head at people's offense to them? If you don't get them, and you don't like them, then don't watch them.
I think the Emmy obviously is very prestigious and is the gold standard obviously in terms of television. But the Oscars go beyond that. I believe children, when they're growing up, dream of holding that Oscar.
I think when people talk about lighter drama, they tend to use that term, not derogatorily, but 'lighter' means sort of less to a degree, but if you're an actor, light drama is often mistaken for easier drama.
We never really know what's around the corner when we're filming - what turn a story will take, what a character will do or say to surprise us, how the events in the world will impact our story.
It's those moments, those odd moments that you look for and sometimes by creating this kind of loose atmosphere you find those little moments that somehow mean a lot to an audience when they really register right.
I'm thinking, this is Robert Redford. You know, he's won an Academy Award, he's talking to me about directing a movie he's in. So you just think that it's Hollywood stuff or whatever.
We are all ordinary. We are all boring. We are all spectacular. We are all shy. We are all bold. We are all heroes. We are all helpless. It just depends on the day.
Some people help thousands of people directly, like Marie Curie or Susan B. Anthony. Others help us by inspiring us, like Amelia Earhart. But you do have to help someone.
But to me, the most important page in my daughter's book is the last one - because it's blank. It says 'Your Hero's Photo Here,' and 'Your Hero's Story Here.'
However, we couldn't focus on the films much during the series because we're dumb. Individually we're smart guys, but together we're one big dumb guy, and couldn't concentrate on two things at once.
I got involved in improv comedy. It settled me down when I was getting wild. I was sort of an evil teenager smashing up my cars and drinking and driving, let's just say, a lot.
I learn more from the audience than I can from anybody else. Not from what they write on the scorecards, but how they respond to the movie while they're watching it - where they laugh and where they react.
They say your childhood influences your tastes and interests, or your approach if you're an artist. So what you create, whatever you saw, whatever your childhood was like - it influences how you're going to end up.
Michael worked one day. Everybody was a little freaked out and nervous because he's a really big star. We were already working with really big stars, but Michael is Michael.
