I've had various experiences where I've been called by Hollywood studios to look at a script or comment on various scientific ideas that they're trying to inject into a story.
I've spent various periods of my career being thought of as various things, various degrees of substance and ideas.
If a script writer had come up with a story resembling what you have just achieved, even the Hollywood studios would have refused.
I think when you're trying to get a film together that's had a long gustation process before I came on board and was trying to get financed in various stages, sometimes you're trying to make it more friendly to the financial interests or the commercial interests of various parties.
Having been with the Indian team for such a long time and having had various experiences of not just conditions, but outside the cricket field, when you're a coach, you're not just coach on the field but also off it. You're trying to build personalities, trying to build leaders.
Even under normal conditions, how we can distinguish various events, various experiences, and be able to reproduce it later is, of course, a very interesting question and, I think, one that we face in day to day life.
There are various names for this 'Spirit of Life' because there are various life experiences.
The ideas always have to be in service of the story. And that's what Scott and the writers did - they weren't trying to beat you over the head with an idea; they had a story they wanted to tell, and they had ideas, so they used the story as a way of fleshing out the ideas. It all depends on where they want to go with it.
In Hollywood, story content of movies follows a hierarchy of power, not the relative quality of various ideas. Hollywood does not lack for quality writing. It's just that quality writing commonly has to be sacrificed in order to propel a film into production. A studio needs a star and a director to make a film, so those are the folk who'll define the content. If they don't have the same creative sensibilities, then the content will change.
I've been very thankful in my state legislative career to have gotten support from both the MPAA and various movie studios.
Changers are characters who alter in significant ways as a result of the events of your story. They learn something or grow into better or worse people, but by the end of the story they are not the same personalities they were in the beginning. Their change, in its various stages, is called the story's emotional arc.
As you look at the flow of Muslim fundamentalism, or fundamentalism in various areas and various religions, they all play on the people who have very little.
Apart from the scientific interest attached to my various journeyings, it has been made clear to me that human needs and aspirations differ little the world over and that no great difficulties arise in one race dealing with another when matters of scientific importance are involved.
I have had the occasion to meet child actors from the '60s and '70s at various functions, and everyone's gone on to various different lives - they're real-estate agents or surfers.
The one eternal religion is applied to the opinions of various minds and various races. There never was my religion or yours, my national religion or your national religion; there never existed many religions, there is only the one. One infinite religion existed all through eternity and will ever exist, and this religion is expressing itself in various countries in various ways.
I've had experiences on both sides of the ocean and various classrooms and bedrooms around New York.
Limited points of view let the writer dispense - and the reader gather - information from various corners of the story. It all becomes a kind of dance, with the writer guiding the reader through the various twists and turns. The challenge is keeping readers in step, while still managing to surprise.