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I still like the relationship part of any story. You don’t want your character to figure everything out and then at the end of the day, go home and eat soup from a can by herself.
There’s a really unique relationship between a single parent and their child. Marriages so easily break up. There’s kind of this temporary deal about marriages. That’s one of the things that makes it stressful, and that’s something that’s nonexistent in a parent-child relationship.
There are numerous cases of that, where one of our writers discovers another writer whom he likes, and we then take that book on. So it’s a very close relationship. We can do that because we’re so small.
Growing up training, I use to get up so early I would wave to the garbage men going by. So, I had this relationship with Blue Collar America and I really liked it. I felt that lots of those people looked forward to me winning.
It was a good 15 or 20 years before anyone at Rand would be in the same room with me. They didn’t want the question raised, ‘What’s your relationship with Daniel Ellsberg?’ And not one of them wrote me a letter because they didn’t want a letter of theirs to show up in my trash – which the FBI had been going through.
A conversation goes sometimes into personal things and that’s nicer. You look to each other and you have a different picture, you get into a relationship.
I think there are a lot more relationship scenes in my movies that people tend to overlook. A lot of scenes really feel real and are about the characters.
My relationship with my father is pretty non-existent.
Well we have a good working relationship with Microsoft at the development level. But let’s not kid ourselves, this is a company with enormous resources and talented people, and there is a certain pride that comes along with that for them and for us.
It’s as if I were collaborating with myself, revealing my relationship to the material. My hand would make the drawing. Then my mouth would transmit it.