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I think that the mythology of Van Gogh's life, and the beauty of his paintings, is unstoppable.
The poem is not, as someone put it, deflective of entry. But the real question is, 'What happens to the reader once he or she gets inside the poem?' That's the real question for me, is getting the reader into the poem and then taking the reader somewhere, because I think of poetry as a kind of form of travel writing.
I think what gets a poem going is an initiating line. Sometimes a first line will occur, and it goes nowhere; but other times - and this, I think, is a sense you develop - I can tell that the line wants to continue. If it does, I can feel a sense of momentum - the poem finds a reason for continuing.
I think more influential than Emily Dickinson or Coleridge or Wordsworth on my imagination were Warner Brothers, Merrie Melodies, and Loony Tunes cartoons.
I think what gets a poem going is an initiating line. Sometimes a first line will occur, and it goes nowhere; but other times - and this, I think, is a sense you develop - I can tell that the line wants to continue.
I think if a poet wanted to lead, he or she would want the message to be unequivocally clear and free of ambiguity. Whereas poetry is actually the home of ambiguity, ambivalence and uncertainty.
I think it's good not to make demands on the reader too early. But as the poem goes on, I want the journey of the poem to lead into some interesting places.
I think 'accessible' just means that the reader can walk into the poem without difficulty. The poem is not, as someone put it, deflective of entry.
I don't think anybody reads a book of poetry front to back. Editors and reviewers only. I don't think anybody else does.
There's something very authentic about humor, when you think about it. Anybody can pretend to be serious. But you can't pretend to be funny.
I don't think I've ever written a poem whose intention was just to be funny. I've written poems that start out funny and often shift into something more serious.
I'm a nearly uncontrollable Geoff Dyer fan, who I think is one of the most comically brilliant writers today.
When I became poet laureate, I was in a slightly uncomfortable position because I think a lot of poetry isn't worth reading.
People think of poetry as a school subject... Poetry is very frustrating to students because they don't have a taste for ambiguity, for one thing. That gives them a poetry hangover.
Well, I think that those of us in public life that are trying to do a good job, and that are faced with this popular new game that the media has of being critical of everything that anybody in public office does probably are thin-skinned.
I think we're probably more unified than ever before because we're in a battle for survival. Not only for survival as the Republican Party, but survival of the check and balance system in our government.
It is essential that there should not only be a limit on campaign spending but it should be required to say where that money is spent and how it is spent. I think there has been more abuse in campaign spending, actually, than in campaign contributors.
Acting was always there, it's true. But for a long time, in my teenage years, I wasn't sure about it - not because I didn't like it, but I didn't want people to think I hadn't earned it.
I'm always looking for something that's real and that's got meat on it. I think it's artistic suicide if you're too vain, or if you're afraid to play ugly. I would never fall for that.
If you ask anybody what they think of clowns, it's associated as much or more with something crazy and scary as it is something joyful.
I think every character that I play has a certain sort of tone or an energy level to them.
I think I've gotten that before - people have been like, 'Oh, you have a creepy stare.' My energy personally is not as threatening, I don't think.
There's always some extent of luck going into getting a job. I try not to think too much about my own looks or how I work. There's a danger in becoming too self-aware.
I think December has always been the most haunted month, from the gothic-narrative point of view - a lot of Edgar Allan Poe stories are set in December. It's the last month of the year, and it's supposed to be sort of this mystical, spiritual month. And being Swedish, December is also the darkest month out of the year.
I'm an actor. And I guess I've done so many movies I've achieved some high visibility. But a star? I guess I still think of myself as kind of a worker ant.
I do not think that winning is the most important thing. I think winning is the only thing.
There is a big push that we all are engaged in, in wanting to have the newest in innovation - and I think that's all really great. But I also feel that human beings need to be aware of, and grounded in, history.
I cry a lot. Usually once a day. I think it's one of the most profound forms of human expression.
Emotions are the key to many aspects of life. They are precisely the elements that make human beings human. I think the fact that emotions have been reduced and put off to the side in intellectual work, particularly in the 20th Century, is tragic.
The human brain is probably one of the most complex single objects on the face of the earth; I think it is, quite honestly.
I think we're in an age where artists really have an incredible range of materials at their command now. They can use almost anything from household items - Jackson Pollock used house paint - to, you know, advanced computer systems, to good old oil paint and acrylic paint.
I don't sleep much. I'm on the go. My mind is racing. My wife says my mind is like the rolling dials on a slot machine. So, yeah, I think about everything.
Chick Hearn was my favorite broadcaster ever - he's the one who taught me to think basketball, how to love basketball.
Sometimes I think the surest sign that intelligent life exists elsewhere in the universe is that none of it has tried to contact us.
Sometimes when I'm talking, my words can't keep up with my thoughts. I wonder why we think faster than we speak. Probably so we can think twice.
I think anyone would want to see their favorite band in a small club over a large stadium.
There are things that I am very proud of and there are things that you are not so proud of. But I think that applies to any musician.
She is also brought to a point of zero in the beginning of the story, and I think you can say that about a lot of my films in that they are often about people who are brought to the point of zero in the beginning of the film.
I really think the acoustics that Gibson's been making for the last ten years or so are as good as any the company has ever produced and that's saying a lot.
Personally, I don't think the film and television industries are run as well as they used to be. Oh sure, we've got great digital effects now but... where are the visionaries?
I think 'Lost in Space' certainly shifted from being an ensemble adventure series about a family facing the unknown alien environment to this trio of comedians - Dr. Smith, the Robot, and Will Robinson being the straight guy. It definitely changed its tone over the three seasons and 84 episodes we did.
I was in Redwood for almost six years. It was an acoustic trio that I still think was the best band I've ever been a part of. We do have a double CD of the Redwood stuff available called 'Lost But Not Really.' I'm very proud of the old Redwood stuff.
Don't think about your errors or failures; otherwise, you'll never do a thing.
I think all phases of one's career are serious if you take it seriously no matter if you are doing high profile dramatic pieces or not.
I think that the online world has actually brought books back. People are reading because they're reading the damn screen. That's more reading than people used to do.
Yeah, I think that's sort of the American way. And it's also the Polish way, it turns out.
I think midlife crisis is just a point where people's careers have reached some plateau and they have to reflect on their personal relationships.
Whenever I think of the high salaries we are paid as film actors, I think it is for the travel, the time away, and any trouble you get into through being well known. It's not for the acting, that's for sure.
My favorite thing about New York is the people, because I think they're misunderstood. I don't think people realize how kind New York people are.
I'm going to make up my own mind as to what I think is in the best interest of our country and Florida.
I've worked with Len Wiseman before, on the 'Underworld' series, in which I was a vampire. The first two of those were his first two films. And I admire him beyond measure. I think he's tremendous, as a man and as a director.
I don't do plays without jokes anymore. I've retired from those plays. I think it's bad manners to invite people to sit in the dark for two and a half hours and not tell them the joke.
Actors always talk about taking their work home and I always think: 'What are you on? You just turn it off. You are at work and then you go home.'
I think in the old days, everybody used to act really quickly because Hollywood was built by theatre people.
If you want to be an actor, you should just get out there and do it. I don't go for the approach of first getting photos and an agent. I think you should start with the work, and the other stuff will follow. As with 'opportunity knocks,' you have to be ready.
Climate change is happening, humans are causing it, and I think this is perhaps the most serious environmental issue facing us.
I think there are a lot of good people, a lot of good football guys in the NFL.
When I was coaching with the Patriots, the players pulled a practical joke and I said, 'Do you think I'm Charlie the Tuna, like a sucker?' After that, they called me Tuna.
God's been good to me, He really has. I don't know why he picked me out... Just think about it: I virtually coached in my hometown. From the middle of the Meadowlands field, it can't be but a couple of miles. I was lucky to do that.
I've always loved movies about con men. I think con men are as American as apple pie.
You don't really get to pick and chose what you would like to be doing. But I've been very fortunate, and I think water seeks its own level. You do gravitate towards things that you would get off on.
I think I got an Instamatic camera when I was 8 years old, and ever since then, I've liked to record things. I don't know why. Maybe it's just to kind of try to leave some kind of record behind.
I think it reflects well on the state of animation that people are knowledgeable about it and love the fantasy and imagination that goes into it.
Being a talented artist is good, it's nice, but it's not the most important thing. I think being a good storyteller, having a good idea, a good gag, is probably more important than being a great artist.
I look at some of my early stuff - back when I was 12 or 13 years old - and I was already doing cross-hatching back then. I don't know where I picked that up. I think I was in a hurry, and I wanted to shade something really fast, and I tried cross-hatching a shadow.
I'm not as successful as Pixar or Dreamworks, and that is disappointing to me, because I think my films are as valid as a Pixar film. I think there's an audience for my films. I know there's a market for someone like Quentin Tarantino, who basically does adult cartoons in live action.
I think each film I do has less and less dialogue. It really helps a lot for foreign sales, because when I go to Europe, there's very little problem with communication. All the gags are visual. The music they can understand, and it helps communicate a lot better.
There's definitely a pattern of great British shows that get reinvented in America and do really well here, but I think 'Torchwood' is a bit different. It's more of a hybrid that doesn't exist as a reinvention.
I think, when I'm 73, I'm going to be getting softer, writing Hallmark cards, losing my teeth.
I'm a very discriminating shoe shopper. I only look for something special. In fact, I don't think I've ever bought two pairs at the same time.
I'm a big fan of small business ownership. I think it's the backbone of American innovation. But to be successful, you first have to have the courage to go for it.
I think every guy that hits his 40s has a little bit of a wake-up call and wants to just keep things real, as they say, and just to push yourself.
He's a guy who's gonna die in that chair, putting together some big deal. I don't think Donald Trump will ever stop. He truly loves what he's doing.
President Clinton will, I think, lift everyone's spirit. He was a good president, an economic, balanced budget president. And President Obama, I believe, has been a very good president, too, and we will get reelected. You watch.
I think what's going to hurt the Republicans enormously is the extremist position of Mitt Romney on the immigration issue and states like New Mexico, states like Colorado, Nevada, Arizona - and I think it's going to be the margin of victory for President Obama, a very narrow victory.
I'd like to see that bipartisanship come back that we used to have in the House of Representatives, in the Clinton years. I think there's a possibility that the voters are going to send the message that everybody running - Congress, the Senate, the presidency - that they want us to come together.
The Republican ticket in 2012 was Mitt Romney and Paul Ryan. Whatever again you think of them, that's not a dumbed-down ticket.
I don't think Palin really led to Trump. Was this somehow a bit of a precursor or something? I'm willing to say, 'Maybe so.'
American history has always had elements of what we now think of as Trumpism - Joe McCarthy, George Wallace, Father Coughlin. It's not as if these things haven't always existed, and they were powerful. The big difference is Trump is president.
I think the failures of Republican governance led to a distrust of Republican elites, which is fair enough.
In terms of the conservative movement, I do think it would be foolish to deny that Trump has exposed certain aspects of that movement as less healthy than I thought or hoped.
I was involved in the 'reformicon' effort in 2013-2014, which was explicitly, 'We can't just Xerox Reagan.' In the spirit of Reagan, actually, we could rethink things - maybe we need to think more about job-training programs, earned income tax credit, adjust the tax code.
I think I'm so old I'm in. We call it the 'Tony Bennett Syndrome.' For some reason, young people think I'm cool.
I think there's value in experience and observations that link past to present.
Think of it: television producers joining with newspapers to tell stories. It's journalism of the future. Advertising will follow the crowd - the 'crowd' being viewers and readers, of course, which could bring revenue back into journalism.
I don't think technology is viable unless the person applying it has something to say.
I think feature films sell on the idea, and I think TV works based almost entirely on execution. I don't think anybody is going, 'Wow, that show is executed poorly, but the idea is so cool I just have to keep watching.'
I think that the problem with network television is that they cling to the whole business model like they are clinging to the side of a cliff.
I think about the cosmic snowball theory. A few million years from now the sun will burn out and lose its gravitational pull. The earth will turn into a giant snowball and be hurled through space. When that happens it won't matter if I get this guy out.
I have this big kid in me. I indulge him; I let him out to horse around. I think I'm being a great old man.
I think flying planes into a building was a faith-based initiative. I think religion is a neurological disorder.
Maybe every other American movie shouldn't be based on a comic book. Other countries will think Americans live in an infantile fantasy land where reality is whatever we say it is and every problem can be solved with violence.
I think capital punishment works great. Every killer you kill never kills again.
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