A Quote by David Edelstein

If I had to catalog all the moronic plot turns in The Day After Tomorrow, we'd be here until the next ice age. It's just so very bad. You can have a pretty good time snickering at it-unless, like me, you think there's something to this global warming thing, and you shudder at the irony of a movie meant to warn people about a dangerous environmental trend that completely discredits it. Is it possible that the film is a plot to make environmental activists look as wacko as anti-environmentalists always claim they are?
Al Gore is coming out with a movie about global warming called ' An Inconvenient Truth. ' It's described as a detailed scientific view of global warming. President Bush said he just saw a film about global warming, 'Ice Age 2; The Meltdown.' He said, 'It's so much better than that boring Al Gore movie.'
From the cranberry cancer scare of the 1950s to the Alar-in-apples hysteria of the 1980s, from the "new ice age" of the 1960s to the "global warming" of the 1990s, environmental alarms almost always turn out to be false. Few non-political scientists fear ozone loss, global warming, or acid rain. These are just issues that some people hope to use to reorder the lives of the rest of us.
Global warming is not only the number one environmental challenge we face today, but one of the most important issues facing all of humanity... We all have to do our part to raise awareness about global warming and the problems we as a people face in promoting a sustainable environmental future for our planet.
I'm never so into the three-act movie thing. I know that's the form that people talk about, but it seems to me, in the movie, you just have to keep charging forward. You couldn't start over again like you do after an intermission. You just had to keep the plot moving forward.
The plot is very important because writers have to play fair with their readers, but no one would care about the plot if the character work wasn't there. So, basically every book I work on starts with me thinking not just about the bad thing that's going to happen, but how that bad thing is going to ripple through the community, the family of the victim, and the lives of the investigators. I am keenly aware when I'm working that the crimes I am writing about have happened to real people. I take that very seriously.
...trying to predict whether global warming will moderate the next ice age is not only impossible but irrelevant. It doesn't help us get through the next few centuries. And one can only imagine our future, shivering, ice age descendants cursing us for leaving them no fossil fuel to create a global warming "greenhouse" effect when one is really needed.
I think it's just yet another piece to cause confusion and I think that the 'so-called scientific debate' is very silly now - It's like a bunch of theologians arguing over how many angels you can stick on the head of a needle. When you've got a side that changes from global warming, global warming, global warming to climate change, which is intuitive - the climate has always been changing since the beginning of time - and then just begins to claim every answer is the correct answer, you often stand back, and I don't care who you are, you have to question as to what the real motive is in this.
Have we failed to slow global warming pollution in part because climate and environmental activists have been too polite and well behaved?
The interesting thing is, everybody focuses on the global warming as an environmental issue, as something outside our daily lives. But actually the impact of global warming is with us today. Communities are suffering. Communities in poor countries are the ones paying the price, they are not the ones who are polluting, and we need to help them adapt.
I've always figured the only way I could finish a book and get a plot was just to keep making it longer and longer until something happens - you know, until it finds its own plot - because you can't outline and then fit the thing into it. I suppose it's a slow way of working.
I always start with characters rather than with a plot, which many critics would say is very obvious from the lack of plot in my films - although I think they do have plots - but the plot is not of primary importance to me, the characters are.
There is a movement of more people recognizing global warming as a danger, recognizing the human contribution to global warming, recognizing the necessity for doing something about it. So there's a trend in that direction, and that trend is consistent with what a climate swerve - which is, as we're both saying, a mindset.
Fiction writers come up with some interesting metaphors when speaking of plot. Some say the plot is the highway and the characters are the automobiles. Others talk about stories that are "plot-driven," as if the plot were neither the highway nor the automobile, but the chauffeur. Others seem to have plot phobia and say they never plot. Still others turn up their noses at the very notion, as if there's something artificial, fraudulent, contrived.
We've got to ride the global-warming issue. Even if the theory of global warming is wrong, we will be doing the right thing in terms of economic policy and environmental policy.
Obviously, a theatrical masterpiece needs more than a plot; many television shows are nothing but plot, and it is doubtful that they will stand the test of time. But I also don't think that making fun of plot or acting like we're all somehow 'above' structure is such a good idea.
I was in a store in Halifax, Nova Scotia that I love, sort of like an environmental friendly sort of store. But they had a great book section. So I went in there all the time. The woman who worked there - which I feel so bad; I've forgotten her name - she handed me the book and she said, "Hey, you should read this. I think it would make a good movie." I remember reading the back of it and I was like, "Huh." Then I just devoured the book and I was so moved by it and said, "Why don't we start developing this into a film?" So that's how it ['Into the Forest'] all started.
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