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There definitely has been this kind of Hollywood swing back from the pendulum of, 'OK, we're gonna do gay people; we're gonna do queens.' And then it's like, 'No, no, no queens. Queen is too much.'
The theory of founder effects does not explain how novel features like plumage traits arise.
You don't like it when a French housewife gets mad at you. If she gets steam behind her, she is an unstoppable creature.
'The Names' is planned as a nine-part series. I have a kind of road map: I know the final scene of episode nine. But as to exactly how we get there, what detours or horrible accidents we might have to pass through, I like to keep that a little fluid.
I have no directing ambition whatsoever. And as long as I meet filmmakers like Tom Hooper, Stephen Frears, and others who allow that collaboration, I can't see why I would ever want to direct.
My parents spent a lot of money so I wouldn't sound like I came from Queens. I went to speech class.
I do really modern with materials that are so luxurious that they're, like, baroque.
Church members in too many cases are like deep sea divers, encased in the suits designed for many fathoms deep, marching bravely to pull out plugs in bathtubs.
Conflicts are increasingly causing devastation in densely populated urban centres rather than open battlefields, creating a host of new problems through the cumulative impact from the destruction of vital services like water and electricity.
You know, as photographers, we do pictures, and people either like them or they hate them.
In my experience of these things, parties which shout about dirty tricks and the like tend to do so because they fear a direct hit in some vulnerable part of their political anatomy.
I'm 6ft 7in and I was a bit like a giraffe on the tennis court, though I did play at county level.
Like I said on my bio on my webpage, I was born at an early age, I was close to my mother.
I'm sure Putnam is right that there's been a decline in certain kinds of organizations like bowling leagues. But people participate in communities in other ways.
If the cultural elite has its way, the U.S. will be much more like Europe.
I was a painter, then a novelist, then a journalist, then a screenwriter, and now I'm a director, and it feels all part of the same continuum. One led to the other, and it just feels like the natural confluence of all the ways of storytelling that I've been doing for almost 30 years.
Like every other industry or institution, the journalism world is populated by the petty and fearful, in addition to the courageous and brilliant.
I like helping other writers who don't know what to do or where to go in New York.
I can certainly imagine a day where task workers, enterprise workers no longer communicate via email but instead use some social vehicle that looks a lot like consumer social networks we see today.
Even more than this, however, the sick - like lepers - were often reviled because people believed that they had brought their torments upon themselves.
When I got out of college, I had to make a living, and I started writing for magazines, and it felt like the perfect job.
Kook means the clueless beginner who paddles his surf board out to the other surfers in the lineup and starts chattering away like it's a cocktail party, completely ignores all the finely-tuned protocols of surf that have developed over decades.
Loss is universal. I've lost grandparents that I dearly adored, lost animals that were like brothers to me. Many of us have gone through terrible breakups.
My first visit to the Large Hadron Collider was in April 2008, before it started up, and CERN had some open days. They were slightly shocked by the end of it because I think they got something like 50,000 visitors.
I enjoy ritual and ceremony. What I don't like is when it's badly done or sloppily done. This is actually a theological issue - the forms we adopt, the actions we take, the way we do things, are, as it were, a sacrament.
Film is such a powerful medium. It's like a weapon and I think you have a duty to self-censor.
Filmmakers have to commit to making 3-D films properly like Jim Cameron did and not do cheap conversions at the tail end of the process.
I remember when I was - I must've been 17 or 18 years old - I remember 'The Empire Strikes Back' had a big cliffhanger ending, and it was, like, three years before the next one came out.
I have a freedom that's incredibly valuable. Obviously my freedom is far smaller in scale than people like Zemeckis and Spielberg have here. But it's comparable. I can dream up a project, develop it, make it, control it, release it.
I think everybody's the same. I think we're all entitled to our space, and I like to treat everybody like that.
Many Republicans have what I call a 'tax-cut syndrome' where they have never seen a tax cut they didn't really like and didn't see a tax increase they didn't hate and do everything they could to block.
As for critics, one mediocre writer is more valuable than ten good critics. They are like haughty, barren spinsters lodged in a maternity ward.
Whoever becomes the head of the National Theater finds himself in a position like that of Nelson's Column - pigeons dump on you because you're there.
There's always a Van der Graaf audience that wants to hear the band's sound. And totally fair enough. Why not? It's a band. You like the band, you like the band.
Well, it made perfect sense that I originally wanted to be an actor because every Sunday, we walked into church and we acted like we were the happiest, most together family.
In 1958, I was shooting a movie in Florida, and I decided to go to Havana, Cuba, to see what it was like.
If I'm going through life broke, I might as well live in the company of cheerful idiots like actors.
Lennon was not very fond of me. Lennon didn't like to be around somebody else who was likely to be the center of attention and didn't like being on deck with somebody who was intellectually as hot as he was.
I always seemed to disappoint them. They expected me to be different than Henry or exactly like Henry. I was neither.
I didn't leave the band to go solo so much as to stop feeling like a production item.
As you get older, some top notes drop off and bottom notes appear, which I quite like. You listen to Leonard Cohen or Johnny Cash, and you see the advantage of the lower end.
When I came up, guys like Nicholson and DeNiro were held in highest regard.
For instance, it's a little better now than it was two or three years ago, but something like 70% of the poems I receive seem to be written in the present indicative.
I would like to be proud of having written some poems that will be remembered, but I will never know whether I will have any reason to be proud of that.
The universe is like a safe to which there is a combination. But the combination is locked up in the safe.
Words fashioned with somewhat over precise diction are like shapes turned out by a cookie cutter.
I dress and eat like a fifth-grader, basically. I like sandwiches and cereal and hooded sweatshirts.
I think 'No' is a very powerful word in our business that is very hard to use early on in your career. But I also think I was pretty arrogant when I was younger... I used that word maybe too much, but it did help me with finding roles that I did like.
A lot of parts written for people of my size, dwarfs, are either foolish idiots or, like, these sages that are all-knowing, and they're very, sort of, come-to-them-for-answers.
I don't like people being cautious and tentative and choosing their words carefully around me because I'm a dwarf.
Even 'Lord of the Rings' had dwarf-tossing jokes in it. It's like, 'Really?'
I like to keep my Twitter pure. I don't want to sell my followers anything.
My childhood growing up in that part of Glasgow always sounds like some kind of sub-Catherine Cookson novel of earthy working-class immigrant life, which to some extent it was, but it wasn't really as colourful that.
I don't like parties. There was never a party I was at where I didn't wish I was somewhere else.
I went to art school in the days when it was what you did if you didn't want to be like everybody else. You wanted to be strange and different, and art school encouraged that. We hated the drama students - they were guys with pipes and cardigans.
I thought I would be an organic chemist. I went off to university, and when I couldn't understand the chemistry lectures I decided that I would be a zoologist, because zoologists seemed like life-loving people.
Being famous as a writer is like being famous in a village. It's not really any very heady fame.
The mobile market is exploding and it makes perfect sense for a media company like ours to create a real content destination for the billions of cell-phone users around the world.
Everyone knows that our current system is kind of like legalized prostitution. The corporate sector completely controls the civic sector.
The magic's back and we're in a time tunnel, feeling like when we were in our 20s back in the 1970s.
I have really got into watching the unsigned bands. They play mad venues like the Sugarmill in Stoke and all sorts of underground, grimy places.
I think good comedy is a commitment to the absurd in that the situation for the actors should be virtually played like a drama.
Guys like Alvin Adams, Sweet D Walter Davis, Larry Nance, and Kyle Macy became my basketball heroes.
When I first heard 'A Christmas Story, the musical,' I thought, Oh, that could be really good. It just felt like it fit. Some films lend themselves well to other formats, some don't, but there are so many fantasy sequences in the film, and Ralphie's such a dreamer as a character, I thought they could really lend themselves to being set pieces.
Because I come from a place like Jamaica, which is a small, open economy, I viscerally get the importance of the global economy.
Germany is not like Ireland or Denmark. It is a country where the domestic market counts much more than the external market.
One needs a comprehensive concept that decides just how much debt states like Greece, Ireland, Portugal, Spain and Italy can sustainably bear.
There's not a moment on it that will sound too familiar, as soon as it sounds comfortably familiar then we like to do something with it to take away that comfortable feeling.
I had learnt from my years of being in the services business, like networking and closely watching the early days of the Internet, that scale leads to many possibilities.
I did not want 'Battleship' to be perceived as an American war film. I wanted to do everything I could to make the film accessible to a global audience. It felt like bringing an alien component to the film would help take the American jingoism out of it.
The first movie I literally ever made in my life was about two guys playing Stratego with each other. I had all my friends dressing up like the military characters in the game. So 'Battleship' is really my second board game turned movie!
When I started making films, like almost every filmmaker, I think, you're just so excited to be able to make a movie that you'll do anything.
I've interviewed multiple people who know bin Laden... who tend to have a universal picture of what he's like, which is: modest, retiring, unassuming, kind of thoughtful - lots of things that don't fit with a mass murderer, which he is as well.
I thought if Oasis could get away with sounding like The Beatles, I could get away with sounding like Abba.
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