Hence my obstinate emphasis on stylistic continuity from work to work rather than specific sibling relationships between the individual work and other members of its stylistic 'family' in the world outside.
A Bond movie falls into a specific genre, and you have to provide certain elements. You must respect the fact it's essentially about girls, guns, gadgets, and big action.
What a photograph shows us is how a particular thing could be seen, or could be made to look - at a specific moment, in a specific context, by a specific photographer employing specific tools.
I realized if I'm not really making an album, I don't have to be concerned about things like stylistic consistency, pacing, a coherent mood. All that stuff goes out the window.
Being genre-bending doesn't really cross my mind. I don't consider anyone I work with a specific genre.
I do think that once a horror genre is commonly parodied in other movies it sort kills that genre or that specific take on that genre. Once it sort of becomes a joke in and of itself, so you have to push and find something new.
Complicated Grief was written in larger and more coherent (if disparate) shapes. The question was how they fit together. The mind is coherent, trust that was the best writing advice I ever got (I got it from Carole Maso and I pass it on). It's true, and clearer and clearer as one grows and gains an improved sense of who one actually is (as versus who one was supposed to be).
When we started with 'Big Brother' and created the reality genre, no one could ever foresee that there was so much space in the genre that it could deliver so many formats. There will be periods where there is not enough new stuff to keep the genre alive. But it will never die.
I've always said this: I've never seen a Michelin three-starred restaurant that was a buffet. They usually serve à la carte. I do think the delivery of a specific service, a specific advice for a specific reason, is the way you get the equivalent of a Michelin three-starred relationship.
Films like 'The Godfather,' 'The Exorcist,' 'Klute,' 'Chinatown,' 'Network,' and 'The Parallax View': They were drawn from the genre tradition, but they dressed down the stylistic telling of those traditions and genres.
There's a level of service that we could provide when we're just at Harvard that we can't provide for all of the colleges, and there's a level of service that we can provide when we're a college network that we wouldn't be able to provide if we went to other types of things.
No, there isn't a particular type of genre that I'm drawn to. I'm more drawn to the possibility of creating different characters, or being able to go from one genre to the other and to show that I could do it, that I could be good at it.
I'm not really much of a genre guy. I think that audiences don't need that anymore where you just need a very specific genre. Audiences are very sophisticated, and as long as it's fun, it's okay and entertaining.
I think that it's very important that whoever is in office can trust the U.S. military to provide him with advice in private so that advice is not then used by somebody to try to criticize the president or try to influence the outcome.
Instead of suppressing conflicts, specific channels could be created to make this conflict explicit, and specific methods could be set up by which the conflict is resolved.
The best advice that anyone can give you for choosing a specific career is never to accept someone else's advice. Indeed, one of the biggest reasons for choosing the career you have chosen should be that no one told you to.