A Quote by Reggie Lee
How often, really, do you get a Filipino story line in a show? Not very often. I can't think of any.
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I think the feature reporter often walks a very thin line between a truly human story and one that slops over into mushiness or sentimentality.
I'm not certain that I draw from any one culture more than others. Many myths and legends of many different cultures are really the same story when you get to the heart of it. They are often cultural cautionary tales about how we should behave and how we should live.
When I was a young artist, and I would go look at other artists' career retrospectives, and I was often disappointed with the lack of story line... What was missing to me was the story of where the artist came from and how they got to where they were.
Very often, things that people may think come from the writer, very often don't. There's a lot of cooks in the kitchen when it comes to making a movie. When you hear a line of dialogue that sounds kind of tinny, it's pretty easy to cite the screenwriter. But there's a lot of stuff that goes into making a movie.
Every field piece I did on 'The Daily Show' was a story that lasted five to six minutes. We had a protagonist, we had an antagonist and often put them at odds. We knew the story we wanted to tell before we went in, and often it was about plugging whatever character you have - in this case, a real person - into said part.
Well people often ask me how I felt growing up with a father who was a politician and who was often away. But when I'm asked that question I often reflect on my inability really to be able to answer it in any relative sense because I never grew up with a father doing anything else. So I just have no idea what it would be like otherwise.
Katie Grand often comes in from a very different angle than what I've been thinking about. And that really gives it that extra something, because designers can often get stuck in their own view of how the collection can look. I always love the way that she turns it into something else and I kind of let go at that point.
I think that if you just kind of try to throw together a sketch show, but you don't have any real vision for what you want to do with the sketch, I don't think your chances are very good. You know, "Let's just have a sketch show!" You have to do something different with it; you have to reinvent that form every so often.
I normally go through every single line as part of my warm-up before a show. When I'm working on a film or TV programme, there often isn't a rehearsal, so I tend to learn my lines much later. They are often shorter, too, so they're essentially just there.
If you're going to build a lean enterprise, you can test and measure how often the company ships iterations, how often it fails, how often it is putting things in front of people that don't work.
So I developed very early a massive inferiority complex, and I've told the story often about how that inspired me later in life to get involved in other things, because I couldn't out-do my brothers in sports, and it's a very competitive relationship.
There's a common problem: if a kid is not good at exams, they often think they are not skilled. Yet many of them do have the skills employers are looking for - but often we don't show them that, or teach them how to develop them, or celebrate them.
I will say that the difference was that when you're an Army journalist, as opposed to a civilian correspondent covering the military, you're very often either a public relations agent or expected to perform that role. I would say that one of the most unexpected benefits of that job was being taught to never try to cover anything up, but rather to get any bad information out right away, so that there would be nothing more to come out later. This was a wonderful lesson to be taught because often the effort to cover up a story becomes a bigger story than the original one.
You know how the best story angles often spring from that thought you have on reading an article or watching a show - that thought you have before the responsible journalist in you comes up with something boring. I usually recommend people get in touch with their deep 'reptilian brain.'
Sometimes, I'll read a news story and there will be one line about something else, and I'll find it interesting and look into it. That can often turn into an entire story on its own.
The architecture or look fo a line is really important to me, and often ice can add something to the look of the wall. A dry rock wall is often not very dramatic. You add ice and snow and the features stand out in greater relief and it looks much wilder.
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