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You have to modernise; you have to change - you can't just be traditional for the fun of being traditional.
One of the things you see in New York is that offices keep their lights on at night. They're proud of their building. Great. But they must find another way to be proud without draining energy.
My architecture tends to be legible, light and flexible. You can read it. You look at a building, and you can see how it is constructed. I put the structure outside.
I had lots of trouble in school as a child, and I lost confidence. Teachers thought I was stupid. I learned to read very late, when I was 11. Dyslexia wasn't recognized then, and the assumption was you were incapable of thinking.
Without transformation, you can assume you're at a high moral, spiritual level just because you call yourself Lutheran or Methodist or Catholic. I think my great disappointment as a priest has been to see how little actual spiritual curiosity there is in so many people.
You have to find some way to not become a cynical or negative person, a person who keeps walking around and opening your eyes in the outside world but inside you close down, a person who stops expecting tomorrow to be better than today.
Ancients knew that you need guidance, patronage and protection as you move from one place or state to another, whenever you cross a bridge. You had better know what you are doing when you leave one group or place to join another.
Words and ideas work in the short run to get you through school and to impress educators and employers. But they do not work in the long run or in the deep run. We soon find ourselves separate and without wonder.
I think you can have a Left that isn't culturally conservative talking about lunch-bucket issues.
If you do the same thing too often, it gets to be the only thing you can do.
The doctor told me, 'You have breast cancer.' I heard the cancer part first - it was only later that I heard the breast part. I couldn't believe it.
When you go into a film, you read it, and something clicks for you, and you like it, and you sign on for it; you go for it. You know that this is going to be a good film, and that is your best hope. Past that, it's a crap shoot - you roll the dice.
Although it happens more rarely in men, breast cancer is not gender-specific. I was in Costa Rica, and in the shower I felt this lump under my left nipple. It was very small, mind you, but enough to make me call my doctor.
This is an area you always need to address when you're dealing with Dracula is the fact that there is something kind of attractive in his darkness - which there isn't in other horror characters.
You have to sort of see the way that the character behaves, and what the character says and does, and claim it in the same way that you claim anything, really.
You know honestly I think there's a Dracula, a Wolf Man, and a Frankenstein's Monster in all of us. They are sides of our own character so that's why I think we can relate to them in terms of a 'I know how that feels' kind of thing.
You can be interested in a Jane Smiley novel whether or not anyone says a word. She enters into her characters' thoughts with great understanding and depth.
You just kind of have faith. If that sounds kind of mystical, it's because I really don't know how it works, but I trust that it does. I try to write the way I read, in order to find out what happens next.
What does it feel like to be a parent? What does it feel like to be a child? And that's what stories do. They bring you there. They offer a dramatic explanation, which is always different from an expository explanation.
My favorite film score is the one Thomas Bangalter created for 'Irreversible.' The soundtrack absolutely defines the daymare-into-nightmare feeling you get from the film.
When we can't determine what is art - when you get to that point where we're not sure, that's the greatest likelihood that we're actually experiencing something great. But I think that's what the art world is most afraid of, because you lose that security. Then we don't know how to assign evaluation, whether it's cultural or otherwise.
Art is a thing where, the least likely thing that you think is going to be art, is precisely the thing that is going to be art. And I would even hold that true to a reality television show... maybe the entire overarching process of the show actually exists as an artistic structure.
When you think about Dada and the great moments in Modern Art, it's always the sense of when you're not sure that art is most likely to be occurring.
If you can get rid of the emotion and concentrate on the problem, you can solve the problem.
I tell my kids, 'Don't do well in school, and you, too, can end up at sea.'
You can intimidate some of the people all of the time, all of the people some of the time, but not all of the people all of the time.
A book is still atemporal. It is you, in silence, hearing voices in your head, unfolding at a time that has nothing to do with the timescale of reading. And for the hours that we retreat into this moratorium, with the last form of private and silent human activity that isn't considered pathological, we are outside of time.
If you're going to immerse yourself in a project for three years, why not stake out a chunk of the world that is completely alien to you and go traveling?
I really like science because it seems to be that place where you get the big picture, everything connects.
I write the way you might arrange flowers. Not every try works, but each one launches another. Every constraint, even dullness, frees up a new design.
If you're writing a book that takes place in New York in the moment, you can't not write about 9-11; you can't not integrate it. My main character's view is the Statue of Liberty and the Trade Center. It doesn't have to take over, but it has to be acknowledged.
If I can tell you the story from beginning to end in five minutes, I'm ready to start writing. Then it's a constant spreading out of that five minutes.
I write because I write - as anyone in the arts does. You're a painter because you feel you have no choice but to paint. You're a writer because this is what you do.
I think the definition of an artist is not necessarily tied into excellence or talent; an artist is somebody who, if you took away their freedom to make art, would lose their mind.
Writers spend three years rearranging 26 letters of the alphabet. It's enough to make you lose your mind day by day.
You can't take a character anywhere they don't expect the character to go. But within those confines is where creativity lies.
It's interesting how people who were once fairly radical can become, later in life, kind of conservative, and not just in terms of politics - how, if you're an artist, you can start out being somewhat avant-garde and then end up doing landscapes.
I urge you to ask yourself just how honorable it is to preside over the abuse and suffering of animals.
You work your butt off and somebody says you can't have your record played because it offends them. Tyrants are made of such stuff.
If I thought about it, I could be bitter, but I don't feel like being bitter. Being bitter makes you immobile, and there's too much that I still want to do.
I believe the ability to think is blessed. If you can think about a situation, you can deal with it. The big struggle is to keep your head clear enough to think.
Imagine people calling you to find out if you're dead. I've led a real crazy life at times, and I've had many strange things happen to me, but that was one of the strangest.
A sold-out house my first night back. Do you have any idea what kinda pressure that is? I could have been at home in my warm bed, playing Nintendo.
Davos is probably the world's most elite society, but it dresses itself up as a non-elite event. Don't be fooled. You must wear a specially coloured badge, which shrieks your status to others.
There is no easy way to ask serious-minded men and women who hold high office, and who have matters of state on their mind, 'Do you mind if I take a quick selfie?'
I passionately believe if you put on an act, the audience will be able to tell. That does not mean that I am going to be talking in top volume all the time in private conversations... Clearly, broadcasting has to be an extension of yourself; it's an exaggerated version of you.
I couldn't sell water in a desert. I have no business acumen. I can tell you why you have no business acumen, and I can tell you why your project may or may not work, but I have no ability to make money.
I'm given an enormous amount of freedom, within the constraints of the editorial policies of the network. One of the Quest shows started off with me doing the cancan kicking... you know, the high kick, with dancing girls. We never thought CNN would agree to that.
Go to The Spaniards Inn on Hampstead Heath. It's an old-fashioned pub, and from there, you can look out over the London skyline.
Buy one pair of knickers or underpants from Marks & Spencer. Then you'll truly be like a Brit!
Whenever there's a big story with vast potential to get social media content and find out what's happening, your first object is to prod into that and then test it to see whether it's valid. If you don't do the second part, you're basically a bilge pump.
I hope I'm wrong, but I think the victory of the screen is going to win out. It raises the fundamental question: is the quality of reading and comprehension as good when you read it on a screen as when you read it on a physical paper?
If you happen to be in the right place at the right time, the capitalist system is a beautiful thing.
That's been the secret to 'Gas Monkey': Move fast. I opened the first restaurant within a year and a half. Most people wait five years. I always move quickly, and in today's market, no matter what you’re in, you can recover from a mistake faster than you can recover from not doing.
If you feel like it's going to work, do it. If it doesn't, get out as quick as you can.
I get the team set up good and then I'll let them do their thing. At the end of the day, if you put the time and effort into interviewing and finding the right people for a job, you’ve got to let them do that job.
I used to have a five-year plan when I was younger. But that’s changed. Technology is changing every day. So you have to live in the day. You have to see what the opportunities are, and go for them.
So I think you want to keep a keen eye on things. Grab it and go. Sure, you check your financials, but don’t be afraid to take a jump. Learn the trends.
You see the hair and the clothes, I look flamboyant. But I’m not the guy with the lake house and the boat. I don’t own a home, or a plane. Really, all I want in life is beer in the fridge and a hot rod.
If you don't have to have a partner, don't take one. If you do need one, look for a partner who can complement your weaknesses with their strengths. If you are at odds, you are never going to get anything done.
I have always argued that change becomes stressful and overwhelming only when you've lost any sense of the constancy of your life. You need firm ground to stand on. From there, you can deal with that change.
I'm very old-fashioned - I don't operate with an agenda. If you're a biographer, you want to be passionate about what you're doing but dispassionate about how you do it.
It's so easy to steal from the bottom 99 percent, but try stealing from the top one percent, and they put you under the jail.
Take care of your working-class citizens, and your working-class citizens will take care of you.
I've got Republican people from all over that have contacted and said, 'Look, we're going to support you,' because I say what needs to be said.
You can't take a coal miner making $95,000 a year, the only work in these parts where you can support a family without having to hold down three jobs at once... and tell them, 'You can make minimum wage,' or, 'We can give you job training for jobs that don't exist in West Virginia.'
We need to take care of our veterans. If I'm going to send you away and break you, I'm going to fix you when you come home.
When I retired from the military, I come home. And the reason why I got into politics is, you know, I spent a lot of time away from my wife and my kids. And I come home, and I found out I have kids in my backyard that have it worse than the children I saw in Iraq and Afghanistan.
The first principle is that you must not fool yourself and you are the easiest person to fool.
There is a computer disease that anybody who works with computers knows about. It's a very serious disease and it interferes completely with the work. The trouble with computers is that you 'play' with them!
It doesn't matter how beautiful your theory is, it doesn't matter how smart you are. If it doesn't agree with experiment, it's wrong.
First figure out why you want the students to learn the subject and what you want them to know, and the method will result more or less by common sense.
The thing that doesn't fit is the thing that's the most interesting: the part that doesn't go according to what you expected.
If you realize all the time what's kind of wonderful - that is, if we expand our experience into wilder and wilder regions of experience - every once in a while, we have these integrations when everything's pulled together into a unification, in which it turns out to be simpler than it looked before.
I was terrible in English. I couldn't stand the subject. It seemed to me ridiculous to worry about whether you spelled something wrong or not, because English spelling is just a human convention - it has nothing to do with anything real, anything from nature.
I thought one should have the attitude of 'What do you care what other people think!'
Once you have a computer that can do a few things - strictly speaking, one that has a certain 'sufficient set' of basic procedures - it can do basically anything any other computer can do. This, loosely, is the basis of the great principle of 'Universality'.
It's the way I study - to understand something by trying to work it out or, in other words, to understand something by creating it. Not creating it one hundred percent, of course; but taking a hint as to which direction to go but not remembering the details. These you work out for yourself.
If I get stuck, I look at a book that tells me how someone else did it. I turn the pages, and then I say, 'Oh, I forgot that bit,' then close the book and carry on. Finally, after you've figured out how to do it, you read how they did it and find out how dumb your solution is and how much more clever and efficient theirs is!
If you keep proving stuff that others have done, getting confidence, increasing the complexities of your solutions - for the fun of it - then one day you'll turn around and discover that nobody actually did that one!
You're unlikely to discover something new without a lot of practice on old stuff, but further, you should get a heck of a lot of fun out of working out funny relations and interesting things.
Do not keep saying to yourself, if you can possibly avoid it, 'But how can it be like that?' because you will get 'down the drain,' into a blind alley from which nobody has yet escaped. Nobody knows how it can be like that.
In any decision for action, when you have to make up your mind what to do, there is always a 'should' involved, and this cannot be worked out from, 'If I do this, what will happen?' alone.
It is necessary to look at the results of observation objectively, because you, the experimenter, might like one result better than another.
Things on a very small scale behave like nothing that you have any direct experience about. They do not behave like waves, they do not behave like particles, they do not behave like clouds, or billiard balls, or weights on springs, or like anything that you have ever seen.
There is always another way to say the same thing that doesn't look at all like the way you said it before. I don't know what the reason for this is. I think it is somehow a representation of the simplicity of nature.
It always seems odd to me that the fundamental laws of physics, when discovered, can appear in so many different forms that are not apparently identical at first, but, with a little mathematical fiddling, you can show the relationship.
This is how the Russians have operated for years - they get the goods on people and then they can get you to do what they want. This is how someone like Donald Trump could be turned into a Russian asset.
Well, the problem is that when you mix discussion of official United States government business with discussion of your personal business, you can tread dangerously close to the bribery statutes.
Here is where you get into the danger zone, when the government official starts talking about U.S. government business and then also talking about what personal business favors they might want. And when the conversation goes down that road, it does risk crossing the line into solicitation of a bribe.
And imagine where we'd be today if President Franklin Roosevelt had owned apartment buildings in Frankfurt and Berlin. You know, some of us might be speaking German.
I don't believe President Nixon ordered a break-in, but people working for him were doing it. And then that dragged the president in. And then you have the cover-up. And before you know it, the president's gone.
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