All of that snorting, it's just like an algebra problem. We're going to give him a job. By giving him a job, I keep his mind active.

My aids, or my commands to the horse, should not be visible to the naked eye. It's kind of like when you and I are talking. We're supposed to just talk in a normal conversation and not yell. A horse is no different from us. They don't want us yelling at them, verbally or physically.

I know the difference between an inconvenience and a problem, an inconvenience is losing a job. A problem is a spinal cord injury.

And their first instinctual reaction is to flee. Everything we do in education is to teach the horse to stop, stand still — You're in doubt, stand still.

We are beating ourselves. We're giving them too much, giving them too many opportunities. We need to make them earn their way on base.

Sometimes it feels as if the artist hasn't done the real work of engaging with the material. Film noir can't just play off looks and attitudes. A thriller needs a dose of genuine suspense. It does not have to be literal, but it does have to feel genuine. Otherwise the artist is just leeching off the form.