I had an idea in the beginning to do a book about some of the events that I had covered, just various stories that I've covered. Reporters spend a lot of time telling each other tales about how they covered stories, and that's what this book started out to be.
In general, I feel so much of pop culture is set in the generic big city, particularly comics. I feel like there are so many other stories to tell.
I was always interested in sport. My family are big sports' fans. We always had all the locals round watching big sporting events. I wasn't particularly sporty myself. I played a lot of hockey and rode, still do ride, but I just had a general interest in it. When I was given the opportunity to do sport stories I used to grab them.
I did a stint on 'Dollhouse,' and prior to my stint on 'Dollhouse,' I had no plans to be working with Joss Whedon until he said, 'Hey, do you want to do this?' When he calls, I'll pick up the phone, and that's how that works.
For too long, reporters for the big media outlets have been fixated on novelty, always moving too quickly onto the next big score or the next hot get. Paradoxically, in these days of instant communication and sixty-minute news cycles, it's actually easier to miss information we might otherwise pay attention to. That's why we need stories to be covered and re-covered until they filter up enough to become part of the cultural bloodstream.
The owner's job is to hire the general manager. The general manager's job is to run the hockey team.
There are a million ideas in a world of stories. Humans are storytelling animals. Everything's a story, everyone's got stories, we're perceiving stories, we're interested in stories. So to me, the big nut to crack is to how to tell a story, what's the right way to tell a particular story.
My dad was always my manager as far as I was concerned, even when I had another manager. At times he let me go with someone else who he thought could take me to another level when he couldn't, and he was right. But they were in it for another reason. He was in it because he wanted to see me succeed no matter what, and he made decisions based on being a dad as opposed to a manager.
I think that one of the things that drives me in telling stories, and art in general, is finding the beautiful in a big mass of ugly.
I came to graduate school with a certain vocabulary about how to talk about other people's stories, but I couldn't understand how to look at my own stories in that way. And that was what made editing such a challenge for me.
I proceeded to prove everybody right as to how bad an economics student I was by failing as an assistant manager in every theatre I went to that hired me, both as an assistant manager and as an actor. I lost money and tickets, and I couldn't keep track of anything. So eventually they fired me from assistant-manager jobs, but kept me on as an actor.
Although my stories are all very different on the surface, I like to write stories about characters struggling with big problems. I'm always reminded, no matter how different from me one of my characters is from me on the surface, how we're all pretty much the same underneath.
PSG signed me for my CV, for what I've achieved in the Europa League, how I've grown as a manager, and how I've made players grow. I'm essentially here because I have a winning record.
If I had any interest in coming back to baseball, it would be as a general manager and not as a manager.
I read a lot of archaeology and early history in a general way, not thinking particularly of this book, and this provided me with the background. It showed me how, possibly, the people lived back then.
We can't tell particularly smart stories if we want to keep our audience big enough to pay for these big spectacle films that we want to do.