Journalists, whose job is to pull back and tell dramatic stories that bring power into focus, find it impossible because things like economic theory are both incomprehensible and, above all, boring. The same is true of 'management science.'
Both individuals and societies tell themselves stories to simplify and make sense of the messy chaos of reality.
I want to do stories that are about the bits of cultural furniture that are sitting there that we're like, 'Oh yeah, that's been there for years! What could possibly be weird about it?' And then we're going to lift that piece of furniture and look at all the bugs scurry away.
You always read stories of people going out to California and making it as an actor with, like, two dollars, so I figured I'd try it.
The story of Noah, like other stories in the first 11 chapters of Genesis, are archetypal. Noah's story tells us that human beings have an inherent tendency towards violence both towards their fellow human beings and towards the creation itself. The story tells us that this violence grieves God.
The earliest stories in Genesis were not written to tell primeval history. They were written to tell readers about themselves and about God.
Children crave routine and find listening to the same stories over and over again soothing. If you've grown weary of the holiday books you've read your kid 7,883 times, try adding 'dude' to the end of every line of dialogue.
My number one goal has always been to try to tell interesting, cohesive, long-term stories.
Everyone working on 'Tyrant' wants to present the world and the issues in it in an intelligent, open, fair, non-reductive kind of way. For the actors, we have to try and make these stories as truthful and compelling as possible.
I'm not great at bedtime stories. Bedtime stories are supposed to put the kid to sleep. My kid gets riled up and then my wife has to come in and go, 'All right! Get out of the room.'
