A Quote by Park Dietz

We've had 20 years of mass murders throughout which I have repeatedly told CNN and our other media, if you don't want to propagate more mass murders, don't start the story with sirens blaring. Don't have photographs of the killer. Don't make this 24/7 coverage. Do everything you can not to make the body count the lead story, not to make the killer some kind of anti-hero. Do localize the story to the affected community and make it as boring as possible in every other market. Because every time we have intense saturation coverage of a mass murder, we expect to see one or two more within a week.
Literature is an aspect of story and story is all that exists to make sense of reality. War is a story. Now you begin to see how powerful story is because it informs our worldview and our every action, our every justification is a story. So how can story not be truly transformative? I've seen it happen in real ways, not in sentimental ways or in the jargon of New Age liberal ideology.
The Second Wave Society is industrial and based on mass production, mass distribution, mass consumption, mass education, mass media, mass recreation, mass entertainment, and weapons of mass destruction. You combine those things with standardization, centralization, concentration, and synchronization, and you wind up with a style of organization we call bureaucracy.
The actors come in and they make characters their own and so Patrick and I have never been the kind to think that our script is the bible. We want to make sure that the story is told, that you stick to the story but if you have to make changes to the character then that's fine. A lot of times there are some funny one-liners, funny things that happen that are out of the ordinary. I like it.
The Danger of a Single Story”, which has resonated with me immensely every time I read it. “Power is the ability not just to tell the story of another person, but to make it the definitive story of that person. The Palestinian poet Mourid Barghouti writes that if you want to dispossess a people, the simplest way to do it is to tell their story, and to start with, “secondly.
A romance novel is more than just a story in which two people fall in love. It's a very specific form of genre fiction. Not every story with a horse and a ranch in it is a Western; not every story with a murder in it is a mystery; and not every book that includes a love story can be classified as a romance novel.
I want studios that make story-based games to start taking their stories more seriously. And that doesn't mean hiring a big shot writer from Hollywood; it means that story becomes integral to making your game. I don't see how you can achieve that without having an in-house writer that sits next to the designer, helping them make their levels, talking with the engineers about where we can tell the story more dynamically, pushing at technology.
Humanity today is not safe in the presence of humanity. The old cannibalism has given way to anonymous action in which the killer and the killed do not know each other, and in which,indeed, the very fact of mass death has the effect of making mass killing less reprehensible than the death of a single individual. In short, we have evolved in every respect except our ability to protect ourselves against human intelligence. Our knowledge is vast but does not embrace the workings of peace.
I myself, as I'm writing, don't know who did it. The readers and I are on the same ground. When I start to write a story, I don't know the conclusion at all and I don't know what's going to happen next. If there is a murder case as the first thing, I don't know who the killer is. I write the book because I would like to find out. If I know who the killer is, there's no purpose to writing the story.
The art of it is, the more we can bring complex game mechanics to a mass market, the more engaging the games will be. But at the same time, we have to simplify everything: the mass market has a lower attention span; they're not seeking that experience from the outset.
If you think of most murders as being between people who know each other, it's very easy to figure out who the killer is. But when you have a murder that appears random, where the person is not someone that's within the known radius of the victim, then it's much, much more difficult to solve.
I wanted to make a more Romanesque film that told a story over a long period of time - this one spans 45 years. I had a great desire to make another musical, but this time I wanted to be more ambitious.
Coverage of Iraq has plummeted, because people in power no longer want to talk about it suddenly. Journalists should be over there demanding front-page coverage, lead-story coverage every day. They should be demanding that no politician running for federal office can go to bed until they say what the hell they're going to do about Iraq and what how accountable they are for it.
[I have a] way of making narrative sculpture, where first you make a text and out of that text you make objects. [...] I start with a story and then I make sculpture from that story, it's just that the stories become more and more elaborate.
Imagine a world in which you had Saddam Hussein, who had the capacity to make a weapon of mass destruction, who was paying suiciders to kill innocent life. Imagine what the world would be like with him in power. The idea is to try to help change the Middle East. Part of the reason we went into Iraq was we thought he had weapons of mass destruction. It turns out he didn't, but he had the capacity to make weapons of mass destruction.
That's why they (the Bush administration) had to make up that story about weapons of mass destruction. Because that was the only thing that would sell to the American people, and that wasn't true.
This is why I decided to work with Nike, too, because it is even more mass-market than Givenchy and could make entry-price shoes and make people dream to be part of the journey.
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