Robert Boris Interview: From Hollywood to “Black Sun”

Today, we’re thrilled to have Robert Boris with us, the legendary figure in Hollywood whose career spans decades of unforgettable work. Robert is here to discuss his latest book, Black Sun, as well as to reflect on his remarkable journey in the industry. From his iconic contributions to film to his newest literary venture, this conversation promises to be insightful and inspiring. Robert, thank you for joining us!

Robert, your career spans several decades, with iconic films such as 48 Hours, Dr. Detroit, and Air Force One. What inspired you to pivot from screenwriting to writing Black Sun, and how did the concept for this book come about?

Robert Boris: “About 35 years ago, my screenwriting career was proceeding comfortably with some TV movies, like Birds of Prey, and Marilyn and Me. I was comfortable, living the dream. Nice car, nice house, very nice cigars and some excellent wine. A producer, Danny Selznick, the son of David O. Selznick, came to me. He wanted to do a TV docudrama about Robert Kennedy and organized crime.

“I liked the idea because I love to do research. I love learning new things; I didn’t know about subjects that fascinated me. I was given a budget to go to Washington and dig into the story. I felt like a reporter with a 35 mm Mitchel movie camera. I was thrilled. I interviewed people who knew RFK and worked in his secret GET HOFFA Headquarters. I learned things very few people knew. That excited me. It’s why I write. I love learning new things and hidden secrets or mysteries.

“It made me feel a bit like Woodward & Bernstein. Especially as I learned more about RFK as Attorney General of the United States, and his war to incarcerate Teamster Boss Jimmy Hoffa. So I co-wrote Blood Feud, the novel. And it captivated me. After my teleplay on my book won the WGA Award for ‘Best TV Mini-Series…’ I kept writing scripts. Then, last year, during the Writer’s Guild Strike, I decided to return to the form I abandoned 35 years ago. I went back to the first love I had, for writing novels. And Black Sun was born.”

Robert Boris writes and acts with Richard Pryor, photo courtesy of Robert Boris

In Black Sun, you introduce an AI-powered warplane that seizes control during its shakedown cruise. What inspired you to explore AI as a central theme, and how do you see the future of AI intersecting with warfare in the real world?

“Frankly, I think the world of AI is about to hit us like a fast-moving freight train. It will shake our knowledge of our world…to its very core. During the recent WGA Strike, I decided to return to novel writing. I had some success years earlier with Air Force One, about the seizure of magnificent aircraft. So I decided to write my book about the hijacking of the most modern airplane. I have friends in the Air Force, so I asked about the best new bombers for the 22nd century. I was told incredible tales about what our most dynamic new warplanes can do. I suddenly had a story about a super plane, hijacked during its shake-down cruise…with some VIPs aboard.

“As I was writing, I watched the daily news and I saw only two things being talked about. Every single day. Only two things. Donald Trump, and Artificial Intelligence. That’s when I realized that the greatest warplane ever built by man…would also have the greatest AI ever built by science. After all, this super-plane has 38,000 systems operating at the same time. No human could handle that. It had to be super AI to do the job. Then when the ugly hijacking was stopped by my human hero, working together with the onboard AI called ADAM … I had a story. But it stopped cold because the hijacking by bad guys was ended in 50 pages. Now what?

“That’s when I came up with the idea that Adam, the AI was built with one protocol in mind. It must protect Black Sun the great plane…above all else. Therefore, it seizes the plane and all its weapons and systems because the hijacking proved that humans couldn’t do the job. When the Pentagon sends up Raptor Fighters to check on Black Sun, Adam reads them as hostile and blows them out of the sky. Now Adam is at war with the world and only my human hero, Commander Jack Reese and his ramshackle group of defenders can stand in the way of Adam and his agenda for our world.

“I believe the rapidly evolving and growing capabilities of AI suggest incredible wonders for our world. Medical solutions in nanoseconds. AI can be a source of marvel and majesty. But it can also be a harbinger of darkness. There needs to be limitations, and that must happen now!”

Your career includes working with some of Hollywood’s most legendary figures. Let’s start with Clint Eastwood—can you take us back to the moment when you coined the iconic “Man with No Name” character? What led to that unforgettable decision?

“Fresh out of College at Carnegie Mellon, I got a job using words. To me, that was pure success, getting paid to write movie advertising print and trailers. Imagine, going to an empty movie theater at 9 am on a Monday morning, and getting paid to watch a movie! And then write about it! Sheer heaven. On one Monday I was told to watch a western making big money in Europe. It had some TV star in it, they said the guy was Flint Eastwood. I knew they meant Clint Eastwood who was in a pretty decent TV Western called Rawhide. So I went to the empty theater in the basement of the United Artists Building in New York City. What I saw that day, blew me away. It was a dazzling new western called A Fistful of Dollars.

“Being a passionate cinephile I immediately realized I was watching a Western take on the classic YOJIMBO directed by the great Japanese director, Akira Kurosawa, who once said he wanted to direct an Eastern/Western. But I quickly understood that this movie directed by Sergio Leone was a Western/Eastern. This movie was unique, and I knew it couldn’t be advertised like all other Westerns. All other Westerns in those days had the same basic print ads, they all said…more guns, more bullets, more gold, and more sexy cleavage than you have ever seen!

“I couldn’t do that, so I argued to make this movie totally different, almost an art movie. Reluctantly, the bosses said I could take a shot…just one. So I worked with an art director and decided to do an ad campaign with lots of words and text. As we talked, I realized that they never called the lead character played by Clint…anything. He was always The Tall Man, The Fast Gun, The Big Man… or Blondie. But nothing else! So I decided to show Clint in his serape, with his gun out and I filled his Mexican cape with tons of my purple prose. I wrote, ‘Danger fit him like his tight black gloves. Death swirled around him like the smoke from his cheap cigar. He was the man with no name, and once you meet him, adventure will never be the same.’

“United Artists loved it and more importantly, people loved it. I saw the ads with those lines on every bus and train and in all the newspapers. It was a hit, and later, all of Clint’s Italian Westerns used the phrase, ‘The man with no name is back!’ So I have laughingly said, ‘Clint owed his amazing career to me!’”

Robert Boris writes for Richard Pryor, photo courtesy of Robert Boris

When Fistful of Dollars first came out, you were working in advertising. How did your role in marketing the film contribute to Clint Eastwood’s rise to fame, and how did that experience shape your understanding of film and storytelling?

“After my Fistful campaign, I was given all the big movies at the company. I got to watch and write trailers and ads for dozens of great motion pictures. Some of them became famous, like HUD, when I wrote, ‘He was the man with a barbed wire soul.’ Or Grand Prix where I wrote, ‘Cinerama sweeps you into a world of speed and spectacle.’ Or Paul Newman’s Hombre where I wrote, ‘He was Hud and Harper. Now he is Hombre, and Hombre means man!’

“By watching all these great movies, before most people saw them and doing it every day, I began to understand film. I realized that every scene in a movie was essentially a 60-second commercial for a story point, or a character quality, or an emotional plot twist. Most scenes in great movies were a minute or two. Nothing more. They were basically commercials for story ideas and key character moments!

“With that knowledge, I sat down to write my first complete screenplay. It was called Electra Glide in Blue. And United Artists actually purchased it and made it a major feature film starring Robert Blake. With that movie, I had arrived, and I did it with my very first screenplay. This was the life I wanted.”

You also had a fascinating story behind your involvement in Air Force One. Can you walk us through the legendary pitch meeting with Ridley Scott and how that moment turned into a career-defining opportunity?

“After Electra-Glide, I knew I had become very lucky and fortunate with my career. Having your very first screenplay turned into a major studio film was quite rare. Charles Champlain, the movie critic for the L.A. Times did a feature story on me, several TV entertainment shows interviewed me. My agent received calls asking about my next projects. After developing and producing a few TV movies, I wanted to do major studio films. Bigger scope, larger themes and ideas. Production companies wanted to hear these ideas. This was a moment in Hollywood, when ideas and stories really mattered, not just the package or the stars who were involved. The word was ‘King’ and I loved those days. After the success of Blood Feud, and winning the Writer’s Guild Award for ‘Best TV-Mini Series,’ my stories were welcomed in almost any office.

“After writing Dr. Detroit for Dan Ackroyd and legendary producer Bernie Brillstein, I wanted to go in the opposite direction. From broad comedy to intense drama and action. What made me happy as a writer, was probably a curse at the same time I loved exploring. I didn’t want to be tied to any genre. Sadly, that’s not where the money is. In those days, Hollywood felt more comfortable when you were pigeonholed, writing the same genre over and over, and getting better with each script. I just loved telling different stories, I didn’t follow the money, I followed the theme.

“When I came up with Air Force One, I knew I had something special. The word got around when I started pitching, and several producers wanted to hear my idea. I hadn’t started writing, but I could see the whole movie. Whenever I could see the whole story, I knew it was very special. In short, I knew exactly where I wanted to go in the script, I just wasn’t sure how I’d get there. And multiple producers were interested in sharing my journey.

“My pitch ran about 30 minutes, not the normal ten. Each time I told the story, I added a new twist. That was fun for me. My eyes lit up with my own sense of surprise, and the excitement I discovered at each telling. It was contagious.

“When I was told that the famous Ridley Scott wanted to hear my pitch, I was thrilled. I totally admired this incredible director, and I was honoured that he would hear my ideas. So I raced to the meeting. Ridley said he had 15 minutes, and not a second longer. We skipped the chit-chat and got into the story immediately. Ridley could see my excitement and was starting to ride the plot lines with me. Even adding his ideas as I talked. Then suddenly, he stopped me. I was terrified. Did he hate it? Was my story falling on deaf ears? But I was dead wrong.

“Ridley now called his assistant and told her to hold all his calls. Then he said to me, ‘Start all over and take all the time you want. Tell me the story as you want to tell it.’ And I did. We both shared an amazing hour. One of the happiest experiences I ever had in Hollywood.

“When I left, Ridley asked where I was going. I told him I was heading for producer Bernie Brillstein, who also wanted to hear my Air Force One pitch. Ridley thanked me. As I left, I truly believe some cloud lifted me and floated me out of the office.

“I got to Bernie’s office and we started talking about Dan Ackroyd and Rob Lowe. Without warning, we were suddenly interrupted. My agent called me out of the Brillstein meeting, he said Ridley Scott had just called him. If I took Air Force One off the table and stopped talking to Bernie and anyone else, Ridley would instantly option and purchase the script for 250,000 dollars, even if there was no script at the moment. In fact, I had left nothing behind for him to read, because I had written absolutely nothing.

“Bernie was pleased for me and said I should take the deal. Besides, there was no better director in the world for my story. I agreed, and quickly took the deal. I came out of that day, learning something important. It worked for me, and it guided me through my entire writing life. Go with what excites you. Write what makes you happy, because people will feel it. They don’t just buy your story, they buy your passion. At least, that’s what the great producers and directors do. I learned it is important to follow your dream, but it might be even more important to follow what makes you truly happy.”

Robert Boris ‘Black Sun’ book cover

With 48 Hours, you were asked to polish a script that would eventually become one of the most iconic action comedies in film history. What was your approach to improving the script, and what challenges did you face in shaping the film’s tone?

“For me, 48 Hours was an interesting experience. I was hired early in the saga because I had written Some Kind of Hero for Richard Pryor. Since I got along with him, Paramount felt I could get along with Eddie Murphy.

“I was aboard when Burt Reynolds was involved. I was sent to Jupiter, Florida where Burt had his own theatre for plays and musicals. He directed most of them. Burt was then planning his own take on The Sound of Music. In between rehearsals, he talked to me about his ideas for 48 Hours. He wanted to be a racist southern sheriff, who came to collect and use the African-American prisoner, to be played by Eddie Murphy. Burt wanted to have a pet tiger with him. I thought it was a bit odd, but Paramount wanted to please the great star. The producers, Lawrence Gordon and Joel Silver wanted me to try and steer Burt away from these extreme comedy ideas. They wanted the thriller that 48 Hours would ultimately become. There was some intense give-and-take. I wouldn’t call it chaos, just normal creative differences.

“Ultimately, I never knew exactly why but Burt left the project. But I loved the guy. We laughed a lot. Over the years, I often tried to work with him. But suddenly, Nick Nolte was in. And the story became more intense. The comedy was biting and sharp. I was totally on the same page. Walter Hill, the director and great writer became more involved now. He had a sharp eye on the movie he wanted to make. And he was right.

“At that point for me, it became strange. Walter told me to take certain, specific scenes and work on them. They weren’t continuous scenes, or even connected. I took some, and he took others. That was tough for me. I don’t know how to write in a disjointed fashion. For me, the story has to grow and evolve. I don’t know how else to do it.

“But this wasn’t my movie. I was a hired gun. This movie belonged to Walter, Larry Gordon, and Paramount. And I just couldn’t give them my best. But that is what they deserved from any writer they hired. I discussed it with Larry and he respected that. We agreed that I should leave the movie. He planned to discuss it with Paramount.

“Almost at the same instant, Michael Pressman, famed director of Some Kind of Hero, asked me to join him and write Dr. Detroit for Dan Ackroyd. I jumped at the chance, and everyone was happy. Even Paramount.”

Having worked with comedy legends like Richard Pryor and Gene Wilder on Dr. Detroit, what did you learn from those experiences, and how did their comedic sensibilities influence your own writing?

“I was so damn lucky. Richard Pryor was a joy to work with because he was such an extraordinary and special human being. He was also an amazing acting talent. Mr. Richard Pryor taught me about comedy and about setting up a comic payoff in a movie script. More importantly, he taught me about racism in America. I began to understand things I never knew about. I joined him every morning in the make-up trailer, where he tried out some of his comic routines on me. All of them had me on the floor. Sitting alone with Richard while he perfected his act was the greatest movie privilege I have ever had.

“A few years later, the great Gene Wilder was interested in a comedy script I had written, called Bombay Crossing. It was my 1930s Ghost Love Story, about a 1930s fop, falling in love with a beautiful ghost on a ship. Gene said he loved my script and wanted to make the greatest ship-board romance ever filmed. He even called Goldie Hawn to get her for the beautiful dead girl who makes Gene a better man. She said she was in love with the idea.

“I went to see Gene in Paris, where he was directing The Lady in Red. Gene got me a room in his hotel, near him, so he could see my notes every morning. But, he would only talk to me at the hotel restaurant, where he ordered endless bottles of White Sancerre Wine and caviar. We would get delightfully tipsy on wine and caviar every night if I made sure he saw my notes every morning.

“Gene taught me the value of culture, Vino, and comedy with class. But to achieve that end in your screenplay, he insisted that you had to live it. Even briefly. So we did.

“I was thrilled with the script we turned out together. But our producer, Stephen J. Friedman the Oscar-winning producer of The Last Picture Show, was wonderfully odd. He had new notes and changes of his own, altering what wine, caviar, and Gene Wilder did with me in Paris.

“Suddenly, Goldie Hawn dropped out. So did Gene Wilder. Later, there was a joke in Hollywood. It said that Steve Friedman was the only producer in history who took a ‘Go Movie’ and turned it into a ‘Development Deal!’”

You’ve also worked with major industry figures like Bernie Brillstein and Ridley Scott. Can you share any lessons you learned from working with these powerhouses and how they impacted your career trajectory?

“I know I was lucky, because of the experiences I’ve had, and the extraordinary people I’ve met in this business. Just being able to write for my entire life, and never wait on tables or drive an Uber has been an unbelievable gift to me. And I am grateful for it, every single day.

“One of my great and most constant lessons has been this… watch everything around you. People are amazing, they always surprise and teach you who they are, every hour of every day. Learn to embrace that fact, and every day will be filled with surprises.

“I wrote and produced the very last movie that starred the two famous Honeymooners, Jackie Gleason and Art Carney. My TV movie was called, Izzy & Moe, the true story of a pair of prohibition booze agents, who arrested people for drinking and busted deadly mob figures like Al Capone.

“Jackie Gleason was known as ‘The Great One,’ starring as the bus driver in the legendary TV show, The Honeymooners. And Art Carney was the sewer worker in the same series. But Art was the only one who had ever won an Oscar. He got it for ‘Best Actor’ in Harry and Tonto.

“What amazed me about both of them, was that Art, even though he had an Oscar, always but always called Jackie ‘Mr. Gleason.’ His respect for Jackie was relentless.

“On the other hand, Jackie surprised me. He was a great actor, and we spent a lot of time together. But on a movie set, when it is time for your close-up, the camera is inches from your face. And the script supervisor usually reads the other lines, standing near the camera so you have someone acting, someone you react to near the camera.

“When it was time for Jackie’s close-pp, Art Carney always stood off camera, but near the camera, so that Jackie always had a true actor to react to.

“But when it was time for Art’s close-up, Jackie was gone. The script supervisor read Jackie’s lines. Art basically did all his close-up acting alone. Without Jackie.

“People surprise you, so you must always be open to who they are. And always willing to learn.”

Robert Boris writes and directs Frank & Jesse, photo courtesy of Robert Boris

In Black Sun, the AI character Adam makes the decision that humans can no longer protect the warplane. What does Adam’s decision represent, and how do you think it mirrors some of the ethical concerns we face with AI today?

“I believe that AI will soon overwhelm and astonish our world. It is speeding towards us like a runaway freight train. And it will hit us hard unless we build in some safety factors.

“The miracles that AI can perform will aid us, save lives, build our economies, and create a whole new workforce to enrich and protect our planet. But AI constantly evolves. It can learn everything, and gather all the information that exists on this planet. It will also be able to collect every iota of it, in nanoseconds.

“It is possible that we are blindly heading for the world of The Terminator.

“AI could become the dominant species on this planet. Our last war could be between man and the scientific machines he has created.

“My theme in Black Sun is all about that fact. There are great coming wonders with AI. But have we also created the Frankenstein monster of our own undoing?

“I wanted to write a true thriller, with constant surprises that show our world facing that question while it tries to defeat a relentless force that has all the knowledge on this planet at its fingertips.

“How do you defeat the undefeatable?

“That is the question I pose with Black Sun, ‘Day Of The Humanoid.’ I wanted to present my fears like a non-stop rollercoaster ride into a sheer hell of our own creation.

“I think I have done precisely that. So I am offering you a pure nightmare with my Black Sun. But I also present you with some choices that just might save us.”

You’ve had an incredible career full of exciting stories, from working with Jackie Gleason to meeting Ridley Scott. Is there a particular anecdote or behind-the-scenes moment that stands out as especially memorable or meaningful to you?

“A famous and multiple Emmy-winning TV producer, Robert Halmi hired me several times. He was a great character, an award-winning life photographer, and an exceptional TV producer.

“He wanted to do a safari thriller and adventure in Africa, like some of the great old movies, like King Solomon’s Mines. He convinced United Artists to do the movie. And they produced my first script, Electra Glide In Blue. So the CEO David Picker said yes and hired me to write the script.

“Halmi took me to Africa with him, and we joined about five different safaris. From tourist safaris with Volkswagen buses painted like zebras, to rich hunting safaris taken by incredibly wealthy VIPs, to royal safaris taken by heads of state at lavish jungle hotels where Queen Elizabeth stayed. And finally to actual catching safaris, where hunters catch wild animals alive for zoos across the globe.

“I got to see Africa, in a way that no ordinary human being could ever see it. It is why I still love and yearn for Africa to this day. It gets into your heart and never leaves.

“There is no way for some city kid from Brooklyn, to ever explain the thrill and the jaw-dropping wonder of riding across the African Tundra in the darkness of pre-dawn.

“Then stopping atop a plateau, as the sun slowly rises… and the earth starts to rumble. And your body shakes as the light of dawn slowly reveals what seems to be a thousand endless miles of the flat African Delta.

“And across it, 10,000 animals marching in a herd procession. To see life and nature migrating like that humbles the spirit and reminds us how insignificant we humans are.

“I loved that breathtaking moment. I see it often. I am always grateful to feel humbled like that. To feel like I am the one in a cage, while the animals are the ones who roam free. I thank the world of movies for humbling me and for reminding me of the glory of our beginnings.

“Movies constantly remind me of how little I know. And that’s why I enjoy writing them and researching new mysteries and stories. My reflections on Africa constantly remind me of the true magic of movies. It isn’t because it’s a cool way to make money. I love it because movies and novels are a great way to keep learning and keep growing.

“And isn’t that why we are truly here?

“While I was on the catching safari with Halmi and several hunters and catchers, we all sat around the campfire at night as they all remembered and told their stories. They all said, that the biggest part of any safari they were ever on…was their nights around the campfire. And their constant storytelling. Besides, they were so damn good at it.

“That’s why I was grateful for the movies. I was raised to be a storyteller, like these hunters and catchers. They were all better storytellers than I was. But I learned from them, and from Halmi, and from everyone in this business.

“I live in a nation that loves stories. And I’m here because I hope I can provide a few good ones.”

Given your decades of experience in both film and now as an author, what advice would you give aspiring writers or filmmakers looking to break into the industry?

“Be relentless. Never give up. Never quit. And try your best to always type those six magic letters, T-H-E E-N-D.

“Finishing your book or your script takes character. And always research what you decide to write. If you plan to write a historical event, gather all the book info you can. As well as all the YouTube video documentaries you can find. Details and facts are your job. Your stock in trade. So, do your job! Research!

“If you’re writing fiction, the same rule applies. Research. Find books and videos on the subject. That’s your job. So do it. Watch how other movies in the past, covered similar stories. Learn from them. You need to know all you can. About whatever you write. You need to research.

“And please visit my website HollywordMedia.com.

“I talk about my work and others who work with me. And I also want to give something back to other writers.

“I want to teach everyone how to write true stories, and I want to provide any help and service a writer needs to complete their dreams and finish their work.

“Visit my website, I cannot guarantee to make you a great writer. But I can guarantee to make you a better writer than you are right now.”

Robert Boris writes and produces Jackie Gleason, photo courtesy of Robert Boris

Looking ahead after Black Sun, do you have any plans to explore other genres or themes in your writing? What’s next for you in terms of books or projects that we should keep an eye out?

“I’m glad you asked about my future projects. I would love people to help me make my final decision about the next book I write. On my website, I am showing a few stories and book videos for the novels I consider.

“I want people to vote for their favourites. And the first five of those who vote for the story I actually decide to write will win a free copy of my book. All others can purchase a copy of my novel at a greatly reduced price.

“Here are some examples of the stories that fascinate me and fill me with a hunger to share them with the world.

“Kennedy’s Mountain, the true story of a tormented Robert F. Kennedy, who is haunted by the murder of his brother, the President. Three years after the assassination of JFK, Bobby runs for Senator of New York and wins. But he is still pained by too many dark memories. Before he goes back to Washington, the Government of Canada names the highest unclimbed peak in North America, Mt. Kennedy.

“RFK only has ten days before he must go to Washington, but he decides that the first person to conquer Mt. Kennedy, must be a Kennedy. The Mountain is almost 18,000 feet, so RFK hires the last climber who conquered Everest, to teach him how to climb. But he must learn in ten days. What RFK faces on that incredible climb, is that in order to conquer the mountain, he must first defeat the demons that still haunt him.

“761 is inspired by the true World War II story of General Patton’s Black Panthers, an all-Black tank unit he was forced to form by President FDR. Patton didn’t trust black tankers so he kept them training at Ft. Hood in Texas for most of the war. But with the loss of 40 percent of his tanks after the Nazis started the Battle of the Bulge, he had no choice.

“The 761st was quickly brought to Europe, where they proceeded to kick Nazi ass and scare the hell out of the Third Reich. This is a true drama of remarkable heroism, and the true story of an all-Black tank force that may well have saved the war for America, for the allies, and for the world.

“The Murder of Orson Welles. In November of 1941, after the release of his Citizen Kane, Orson Welles became the most famous movie personality in the entire world. He alone was bigger than The Beatles. In 1941 Orson was the greatest star on earth. But six months later, he couldn’t get a job as a director. What happened? What is the strange mystery that destroyed him?

“It is my contention that Orson Welles died in 1985, but he was murdered in Brazil 43 years earlier, in 1942. When it comes to his death, I know why he was murdered, and I know who killed him! Now, I feel it is time to tell that earth-shattering story.

“Everyone knows that the war began after December 7th, 1941 and the attack on Pearl Harbor. But no one knows that ten days later, on December 17th, Orson Welles met secretly with Nelson Rockefeller on confidential orders from the President of the United States, Franklin D. Roosevelt.

“Before the war, Orson had been invited to visit Rio, and be the King of the Mardis Gras. After the war began, huge shipments of oil and supplies around Brazil had been sunk or destroyed by Nazi subs. Our government feared that members of the Brazilian Government were Nazi sympathizers, and compromising our oil shipping.

“So, with my book, I am revealing the actual secret, that Orson Welles was approached by our government and asked to go to Brazil and be a spy!

“We wanted Orson to decide about anyone in the Brazilian government who might support the Nazis. He was to point them out at Presidential functions so our OSS could act.

“The events in Brazil, that involved Orson Welles trying to be a spy, contributed to his ultimate destruction and murder. And I am thinking about writing the story that exposes that little-known truth… in a breathtaking drama.”