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Susan Butcher
Champion Dog-Sled Racer
My relationship is extremely close. I have often described it as that they are my friends, my family, and my workmates. So they get my attention around the clock. They are of total importance to me, because certainly during those years when I lived alone, they were often my only friends. Now I have my husband, and a few young people working for me, but they are still often my closest friends. And then, they are my livelihood. We work together as a team on a daily basis. I train 12 to 16 hours a day, usually seven days a week. And only when I am away -- perhaps 30 days a year -- am I ever off of that schedule. So I am really spending all of my time with these dogs. And I raise them all from puppies. So they are my family, they are very much like children.
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James Cameron
Master Filmmaker
The way I did it was I came in through production design, which is good because you're thinking visually and you're very aware of the director's problems in trying to tell a story and how the environment is, you know, a manifestation of the narrative in some way. And you know, I sort of proved myself as a production designer in the scrappy, stay-all-night-for-15-days-in-a-row kind of independent film making that was done at Roger Corman's place. This was in the early '80s. And when they see that you have the creativity and the stamina, and that you basically understand film making, it's not a ridiculous leap in that environment to say, "I now want to try my hand. I want to direct."
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James Cameron
Master Filmmaker
It took me a long time to realize that you have to have a bit of an interlanguage with actors. You have to give them something that they can act with. You can't tell them a lot of abstract information about how their character is going to pay off in this big narrative ellipse that happens in scene 89. That doesn't help them. You know, they're in a room. They have to create an emotional truth in a moment and, you know, they have to be able to create that very quickly. So they need real tangible stuff and that's a learned art, I think. But coming from writing, and understanding what they're feeling and what they're thinking, what the character is feeling and thinking, and having thought about it a lot for months in advance is the way that I get enough respect from the actors that they trust what I'm saying. They trust what I'm giving them to do.
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Benjamin Carson
Pediatric Neurosurgeon
We had to stay in the house and read these books and our friends were outside and they were playing and they knew we couldn't come out. It seems like they would be making just that much more noise to torment us. But, I hated it for the first several weeks, but then all of a sudden, I started to enjoy it because we had no money, but between the covers of those books, I could go anyplace, I could be anybody, I could do anything. And, I began to learn how to use my imagination more because it doesn't really require a lot of imagination to watch television, but it does to read. You've got to take those letters and make them into words, and those words into sentences, and those sentences into concepts, and the more you do that, the more vivid your imagination becomes. And, I believe that's probably one of the reasons that you see that creative people tend to be readers, because they're exercising their mind.
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Benjamin Carson
Pediatric Neurosurgeon
Benjamin Carson: Actually, in the beginning, it was all animal books, like Chip the Dam Builder. It was about a beaver and the adventures of this incredible beaver. But you know, Call of the Wild, Becky's Thunder Egg. And, then there were a lot of books that weren't necessarily story books, but they were fact books like Reptiles of the Serengeti or things like that and that was really neat because I learned so much about animals that whenever the science teacher brought up anything that even remotely is -- I was Johnny on the spot. I had the answer. And within a matter of a year and a half, I went from the bottom of the class to the top of the class, much to the consternation of all those students who used to tease me and call me names. The same ones were coming to me and they'd say, "Benny, Benny, Benny, how do you work this problem," and I'd say, "Sit at my feet, youngster, while I instruct you." I was perhaps a little obnoxious, but it sure did feel good to say that to those turkeys.
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