When I started training myself in Neurobiology, Psychology and Theology, mostly on the streets of Calcutta, at the book kiosks on the sidewalk, for I had no money to buy the books, I had no academic background - no college degree - no potential for earning a decent living - I was a direction-less canoe in the open sea. I did not come from a rich or learned family, nor did I have rich friends, so, as far as everybody else was concerned, my life was doomed. I come from the humblest of origins - like did Ramanujan, like did Tesla, like did many more legendary thinkers of human history. I didn't know the rules of academia - I didn't know the laws and the norms of the scientific community - all I knew was that I had to understand the humans if I were to unite them. Other than that, I had no clue to my future. I learnt by failing - I learnt by making errors - I learnt by moving slowly but surely, and by never losing my sense of awe. And that's really what science is about - it's about naivety, curiosity and awe.
Watch movies. Read screenplays. Let them be your guide. […] Yes, McKee has been able to break down how the popular screenplay has worked. He has identified key qualities that many commercially successful screenplays share, he has codified a language that has been adopted by creative executives in both film and television. So there might be something of tangible value to be gained by interacting with his material, either in book form or at one of the seminars. But for someone who wants to be an artist, a creator, an architect of an original vision, the best book to read on screenwriting is no book on screenwriting. The best seminar is no seminar at all. To me, the writer wants to get as many outside voices OUT of his/her head as possible. Experts win by getting us to be dependent on their view of the world. They win when they get to frame the discussion, when they get to tell you there’s a right way and a wrong way to think about the game, whatever the game is. Because that makes you dependent on them. If they have the secret rules, then you need them if you want to get ahead. The truth is, you don’t. If you love and want to make movies about issues of social import, get your hands on Paddy Chayefsky’s screenplay for Network. Read it. Then watch the movie. Then read it again. If you love and want to make big blockbusters that also have great artistic merit, do the same thing with Lawrence Kasdan’s Raiders Of The Lost Ark screenplay and the movie made from it. Think about how the screenplays made you feel. And how the movies built from these screenplays did or didn’t hit you the same way. […] This sounds basic, right? That’s because it is basic. And it’s true. All the information you need is the movies and screenplays you love. And in the books you’ve read and the relationships you’ve had and your ability to use those things.