The truth is, whoever I've dated, if I've ever wanted to talk about them on stage, I've asked them first, and I've gotten their permission to tell a story or talk about them before I do it.
If the right idea comes up, and it feels true to talk about somebody being in a truck, and that's the only way to tell the story, then I will reluctantly tell the story that way.
I like to talk about food, ingredients, and how to adapt recipes. It's a dialogue.
I think great filmmakers will always talk in terms of storytelling. These guys were always about the story. That is how I love to talk about a film.
Like all food, whether you're talking about Persian food, or Chinese food, or Swedish food, it's always a reflection of wars, trading, a bunch of good and a bunch of bad. But what's left is always the food story.
When critics talk about Three, they talk about 'Don't Tell the Bride' and 'Snog Marry Avoid?,' but we're also making important documentaries. We take hard-hitting issues and make them accessible.
Getting kids into the kitchen preparing the food they and their families will eat results in them viewing food in an entirely new way. If given the right ingredients, that act alone can raise the standards of the quality of the food both they and their family eat.
I think you tell the story that has to be told. You tell the story that's the truth. You tell the story that readers will be interested in and should know about.
When we talk about chefs, we often talk about their love of food or their passion for it, but cooking is also about making a living; it's a job.
Since 1972, Ive been going around making speeches on the Everglades. No matter how poor my eyes are, I can still talk. Ill talk about the Everglades at the drop of a hat. Whoever wants me to talk, Ill come over and tell them about the necessity of preserving the Everglades.
I always think of my films within the context of where aesthetics meet economics. That's the nature of making art - not being naive about what is possible and getting what you need to tell the story you want to tell.
It's a really unique situation where you just - you make independent films or you make big blockbuster movies, but it's very rare when all of those ingredients come together, and you can really tell a story that you care about with a character you absolutely love with the people you love making movies with.
Often when we talk about food and food policy, it is thinking about hunger and food access through food pantries and food banks, all of which are extremely important.
I talk to my readers on social networking sites, but I never tell them what the book is about. Writing is lonely, so from time to time I talk to them on the Internet. It's like chatting at a bar without leaving your office. I talk with them about a lot of things other than my books.
I don't ask my students to have studied film or any education in general. What I ask them is to come and sit and tell me a story, and the way they choose it and tell it, for me, the best criteria for whether they are right for making films. There's nothing more important than being able to tell your story orally.
One thing that's really pulled me in to helping artists create their album is that I get to help them tell a story. It's about the way you frame that story and finding the best way to tell that story.