A Quote by Michelle Dean
Few reporters get to do what Kelly McEvers does in every episode of 'Embedded': go deep into a story and tease out what is really happening.
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When you speak of the press, of course, you have to speak of different segments of the press. Reporters, straight reporters, wire services, you stick to the facts; you don't create the story, per se. You cover what is happening.
Sometimes I'll write without the guitar or the piano, but most of the time I'll be playing and just improvising some words. And when I get something that sounds good, a line with a story in it, I'll try and tease it out and figure out where the story is going.
War reporters are often seen as a wild bunch of thrill-seekers who wade into danger zones simply for the sake of the adrenalin high the settings inevitably provide. But this one-dimensional explanation leaves out the core of the story, which is that reporters go to these places because they feel the tug of responsibility.
I think television does tease out a certain vanity in everybody when you look at yourself and you go, 'Oh Christ.' Maybe that's why my intros get shorter and shorter.
There is a deep connection between Bernoulli's dictum and John Kelly's 1956 publication. It turns out that Kelly's prescription can be restated as this simple rule: When faced with a choice of wagers or investments, choose the one with the highest geometric means of outcomes.
I really like to have a moment alone at the house, either in the morning or when I come home from work, when I can just zone out at my computer, relax, stare out the window, get into a 'Game of Thrones' episode, go up on my roof, whatever, then go out to dinner.
We got kind of into a rhythm at 'Parks' because there were so many characters that we had an A story, a B story, and a C story just about every episode. So by the middle of that show's run, we always had three stories, and it worked really well.
If you really want to get rid of the problems in the NFL, put Obama in charge of it: in a few months it will be so deep in debt it will have to go out of business - no more concussions.
Reporters may believe they control the story, but the story always controls the reporters.
London has become really boring. I mean, years ago, London was really happening - there was swinging London and then punk. It was really different from other cities, and so I'd always wanted to go there and see what was actually going on. After that, hip-hop was the next thing happening, so to get the records or the proper clothing, you really had to actually go to New York. But now you don't really need to go.
A lot of times with novels, you can get a really deep, engaging story, but there's not a lot happening, frankly. Those books tend to be super-literary and dense, and they require a lot of commitment, and that's not necessarily a bad thing, but if you want fast-moving action and gore and plot and excitement, you can get shorted on that.
Crime shows are really popular, in general, but usually, at the end of every episode, you have to let go of the people that you've invested in and then, the next week, get somebody else.
Often, I get the feeling that the story is really happening somewhere and all I'm doing is trying to work out the best way to tell it.
We do want the freedom to move scenes from episode to episode to episode. And we do want the freedom to move writing from episode to episode to episode, because as it starts to come in and as you start to look at it as a five-hour movie just like you would in a two-hour movie, move a scene from the first 30 minutes to maybe 50 minutes in. In a streaming series, you would now be in a different episode. It's so complicated, and we're so still using the rules that were built for episodic television that we're really trying to figure it out.
Indian audiences these days aren't really interested in watching a character on screen evolve. They don't want to see a young girl evolve into being a partner and enter motherhood - they are only really concerned about the story. As long as the story is getting interesting with every passing episode, they want more.
The one thing that we wanted to make sure in the pilot [of "Mary and Jane"] is that we could go everywhere. Part of the fun of them being a delivery service is that they go to different areas episode to episode. We do have an episode in the beach and there is an episode in the luxury rehab. It's all different kinds of things we are making fun of in LA.
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