A Quote by Marc Guggenheim
Whenever you can manoeuvre your characters into a situation where they both have a good argument to make, you're on the right track.
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One of the most powerful lessons I learned is when you make an argument in a film, you have to make sure both characters are right.
All of Western tradition, from the late bloom of the British Empire right through the early doom of Vietnam, dictates that you do something spectacular and irreversible whenever you find yourself in or whenever you impose yourself upon a wholly unfamiliar situation belonging to somebody else. Frequently it's your soul or your honor or your manhood, or democracy itself, at stake.
The notion that somehow or another they'll (Iran) put it in a picnic basket and hand it to some terrorist group is merely an argument that may be convincing to some people who don't know anything about nuclear weapons. I don't find that argument very credible, I'm not sure that people who make it even believe in it. But it's a good argument to make if you have no other argument to make. The fact of the matter is, Iran has been around for 3000 years, and that is not a symptom of a suicidal instinct.
Gray space is fertile ground for fiction. When I can see both sides of an argument and feel strongly in both directions, then there's a story there, then I can write real characters that I care about and believe in and champion on both sides.
Whenever two good people argue over principles, they are both right.
If Rand Paul is going to go anywhere, he is going to have to expand it beyond merely this argument about where we put troops and don`t put troops and make it both a generational argument and a change argument. And he`s got a chance to do that.
Characters in Hollywood movies encounter a lot of car chases. Characters in novels rarely wash their hands or do their laundry. And in the work of moral psychologists, people deliberate and reflect a lot. They deliberate, one sometimes feels, whenever they perform an action, and certainly whenever they act for good reasons.
Both law and comedy are heavily focused on thought and viewing all angles. To write a good joke, you have to look at a premise every way possible. And with a good legal argument, you have to see all sides to get the best line of argument for your client. Law school made me a better comic, and comedy has made me a better public speaker.
Everyone's films have done well of late. So when your film doesn't do well, you ask yourself, 'Oh, did I make a wrong choice?' And I strongly feel that it's your choices that make a good career. The track record has to be good.
The great thing was that both K-Ci and JoJo told me to not make an R&B track that was reminiscent of radio hit records. 'Make a Gang Starr track and we'll write our lyrics to that,' they told me. They couldn't stress it enough.
The same thing can be both good and bad. Whenever you speak of good, bad is also present. The world is a mixture of both. There is not good without bad. They are both sides of the same coin. Both are necessary. We have been given free will and discriminating capacity to select what is beneficial to us and to avoid what is detrimental to us. Even Cobra poison can be used as medicine.
Ultimately, the current argument is "not having net neutrality will hurt innovation," and you can make that argument, but I would rather make the public good argument, which is not just about innovation or nurturing new companies that will add to the nation's GDP, it's actually about creating a democratic public sphere.
Whenever you're going into oral argument, it's preferable to be able to weave the arguments together. That gets harder when you split the argument into pieces.
Make sure your characters are worth spending ten hours with. That’s how long it takes to read a book. Reading a book is like being trapped in a room for ten hours with those characters. Think of your main characters as dinner guests. Would your friends want to spend ten hours with the characters you’ve created? Your characters can be loveable, or they can be evil, but they’d better be compelling. If not, your reader will be bored and leave.
Whenever I appeared to have won an argument, Mom would say something like, 'Even broken clocks are right twice a day.
If Clinton somehow pulls out a win in both states, then she has an excellent argument to make to the superdelegates: Voters still respond to fear. Obama's campaign has been based on the implicit argument that voters no longer respond to fear. If Clinton wins both states, that probably proves Obama wrong on that point.
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