A Quote by Robert Stack
It's a word called symbiotic, you send the messages and it comes back in return. Together, it's a wonderful thing, it's why television is so great and film can never reach.
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The letters that say 'I'm getting the messages you're sending me through the television screen' are not great. But those are few and far between, thank God. I get wonderful letters, and people send me artwork.
Each thing has its word, but the word has become a thing by itself. Why shouldn't I find it? Why can't a tree be called Pluplusch, and Pluplubasch when it has been raining? The word, the word, the word outside your domain, your stuffiness, this laughable impotence, your stupendous smugness, outside all the parrotry of your self-evident limitedness. The word, gentlemen, is a public concern of the first importance.
I saw this new thing called television, and I saw people throwing pies in each other's faces, and I thought, 'This could be a wonderful tool for education! Why is it being used this way?' So I said to my parents, 'You know, I don't think I'll go into seminary right away. I think I'll go into television.'
You can get eight thousand great, amazing messages, and someone will send you one thing that you're maybe self-conscious about, and that's the only thing in your head for the rest of the day.
The first thing I say when people ask what's the difference [between doing TV and film], is that film has an ending and TV doesn't. When I write a film, all I think about is where the thing ends and how to get the audience there. And in television, it can't end. You need the audience to return the next week. It kind of shifts the drive of the story. But I find that more as a writer than as a director.
I certainly don't feel there's a distinction to be made between a television and a film actor. I think there's a distinction between great actors and not so great actors. But I really think if you watch a person working in television give a wonderful performance, that person is f - ing great, because there is no time.
My plan is, I'm in the process of creating a production company called Tall Girls productions. I want to be doing both film and television. I'll never leave television. I just love working in it too much.
It's not a big deal to send a film to the festivals, but yes, winning an award is huge. When you send a film at festivals, people talk about you and your work, and one gets great exposure.
There was a time when I said, "I'm going to go do a television thing," after doing all these theatrical films, and heard, "Television? Why are you going to go back to television?" It's an interesting place.
I don't send and receive messages on Snapchat; I never have. Stories is the only feature I use. I think of them becoming a more dynamic social network, and I think it's great.
I don't watch a lot of television. I try to watch all the good movies, but I've got about twenty of these television series that I should be watching. I haven't seen 'The Wire.' I haven't seen 'Mad Men.' I haven't seen Kevin's thing. What's that called? 'House of Cards.' I hear it's wonderful.
Plays are literature: the word, the idea. Film is much more like the form in which we dream - in action and images (Television is furniture). I think a great play can only be a play. It fits the stage better than it fits the screen. Some stories insist on being film, can't be contained on stage. In the end, all writing serves to answer the same question: Why are we alive? And the form the question takes - play, film, novel - is dictated, I suppose, by whether its story is driven by character or place.
In any other context, 'icing' is a great and exciting word: The proverbial icing on the cake, for instance, is a bonus - a wonderful thing on top of another wonderful thing. But in hockey, icing merely results in the referee's raising his right hand, as if swearing an oath to the deity of downtime.
When I decided to write about my brother and friends, I was attempting to answer the question why. Why did they all die like that? Why so many of them? Why so close together? Why were they all so young? Why, especially, in the kinds of places where we are from? Why would they all die back to back to back to back? I feel like I was writing my way towards an answer in the memoir.
Make your initial contact short and sweet. Five sentences or less, or under 150 words. If someone instant messages you while you're online, go ahead and IM them back if you want. Otherwise, wait twenty-two to twenty-three hours between email contacts for the first few messages. Don't send messages while most people are sleeping, even if you're wide-awake. Shoot for business hours or just after dinnertime.
We did some research that showed that the very first word of your message that you send a girl - when we looked at men sending messages to women - the very first word can have a tremendous... can have a very accurate prediction of whether you're going to get a reply.
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