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"Black" is one of those movies you yearn to see again and again and you can never ever quite get the story out of your head.  The movie is a love story of self-discovery and education for a Deaf and Blind woman who does not speak.  She lives in an internal darkness.  She wants a way out into the light of the world.  The box for the special edition of the DVD is pocked with Braille dots you can feel with your fingertips, thus creating a temptation, and an expectation for the drama of learning to come:

Keesha was voted out of the Big Brother 10 house and -- in the spirit of poopy panties -- we welcome her back into the land of the losers.

Today I will give you a perfect example of: "How to Kill a Joke." 

Bring a towel.

The nature of the producer is to provide money for a creative project and manage the schedule for getting things done.  The best producers are invisible.  The producer's essence is felt, but their being fades into the background to support the vision of others.

I was raised on radio and -- at 13-years-old -- I worked on the radio over the next decade of my life.

When I was a wee lad -- perhaps 8 or 9-years-old -- I acted in a lot of community theatre plays and musicals.

Acting was an opportunity to escape an ordinary life for one of imagination and history and it was a tasting of a freedom that has sustained me ever since.

Theatre made me an escapee from the mandatory expectations of a pedestrian community where staying and longing were demanded over exploration and fulfillment.

SuperGenius is born in a moment of blinding beauty and then propagated in flashes of inspiration from one mind to another.

When those sparks ignite in a rapid-fire movement, a REM-like sleep flutters across a community of open minds, a new standard is set, a fresh meme is forever created, and the originator of the beauty becomes immortal.

The nature of the designer in society is to give shape and form to the abstract.

That means if an abstraction requires an unidentifiable form, the designer must work to provide cultural clues and provoke shared norms to make that unfamiliar form recognizable in the abstract unknown.

The designer's strength is in the semiotic -- but the world runs on the semantic -- and so the designer must become the ultimate translator between the real and the imagined. 

That transliteration of economy leads to a richness of the human spirit and a flying out of the depths of worldly compromise.

If form is a factor that shapes vision, then the designer constructs the bones of the living.

Without design, we collapse into ourselves for a lack of infrastructure and we suffer the loss understanding indicating what we are and where we are going.

The nature of the director in any form -- movies, television, stage, radio -- is to serve the spirit of the script. 

A director is not the master of the script -- the director must be a slave to the written word in order to understand the greater purpose of the writing.

Many directors believe they are co-authors of a work and that is wrong. 

Weak authors create strong directors and that wrongful power dyad is always terrible for the script.

A script is not a blueprint or an architectural dream.

A script is the bones, sinew, muscle, heart and being of any project.

For anyone other than the author to change the work in situ or to re-arrange established ideas on the page is to threaten the very core of the project that risks creating the common and the ordinary failure that reeks in the marketplace and is immediately forgotten by those in the audience who writhe and yearn for meaning in their escape into entertainment.