“The day before I left, my mother called sounding sleepy. “I’ve been thinking,” she said, with a mother’s weird instinct. “What this country needs is revolution.”—Arundhati Roy, “Gandhi, but with guns”
“It’s convenient to forget that tribal people in Central India have a history of resistance that pre-dates Mao by centuries. (That’s a truism of course. If they didn’t, they wouldn’t exist.)”—Arundhati Roy, “Gandhi, but with guns”
EVERY SCENE MUST BE DRAMATIC. THAT MEANS: THE MAIN CHARACTER MUST HAVE A SIMPLE, STRAIGHTFORWARD, PRESSING NEED WHICH IMPELS HIM OR HER TO SHOW UP IN THE SCENE.
THIS NEED IS WHY THEY CAME. IT IS WHAT THE SCENE IS ABOUT. THEIR ATTEMPT TO GET THIS NEED MET WILL LEAD, AT THE END OF THE SCENE,TO FAILURE — THIS IS HOW THE SCENE IS OVER. IT, THIS FAILURE, WILL, THEN, OF NECESSITY, PROPEL US INTO THE NEXT SCENE.
ALL THESE ATTEMPTS, TAKEN TOGETHER, WILL, OVER THE COURSE OF THE EPISODE, CONSTITUTE THE PLOT.
ANY SCENE, THUS, WHICH DOES NOT BOTH ADVANCE THE PLOT, AND STAND ALONE (THAT IS, DRAMATICALLY, BY ITSELF, ON ITS OWN MERITS) IS EITHER SUPERFLUOUS, OR INCORRECTLY WRITTEN.
“Rock music imported a lot of the ideas of musical authenticity from folk music, who really believed music should be natural and spontaneous and raw and filled with sincerity, and should not be commercial. If this is your standard, then disco flies in the face of that. It embraces artifice and the synthetic. People who love disco aren’t going to say, “Oh man, can you believe the way Donna Summer sold out?”—Alice Echols