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The great thing about fiction is that everything you care about ends up going into the book.
The great thing about being young and dumb is that you don't know what you can't do.
When the basic status of a theory is clear, and all that needs to be cleared are details, you can collaborate. But if the main structure of a hypothesis isn't established, and you want to change the paradigm - like it was the case in the 1960s - it's better to work alone.
I'm a fan of supersymmetry, largely because it seems to be the only route by which gravity can be brought into the scheme. It's probably not even enough, but it's a way forward to get gravity involved. If you have supersymmetry, then there are more of these particles. That would be my favourite outcome.
The point came when people were doing things I didn't feel competent to do myself. I'm not being modest; I honestly get lost. I was lucky in spotting what I did when I did, but there comes a point where you realise what you're doing is not going to be much good.
If you really want to conceal something, leave it lying about where everyone can see it.
You know you are old when what you still think of as recent films are remade.
I'd have to say, and I think that most Christians would hold the view, that there is such a thing as evil, and there are evil forces at work. You can articulate that by talking about Satan or the Devil; that's sound, Scriptural teaching.
I just think in this world of extreme religious pluralism, the great spectrum of things ranging from the healthy and the respectable, and the balance and the true and tried, you go down to quite bizarre things which are very risky for people, particularly people who are young or vulnerable or unable to discriminate.
I didn't do very well at school, and I suppose I've always had this sense, you know that, of being average, so I've been a bit low on self-confidence in my ability.
There are no training courses to make people bishops. You have to learn on the job.
I think people expect mud at festivals, I think you'd be asking for your money back if you didn't get it.
But then I quite enjoy when something goes wrong, because when I watch DJs that take it very seriously, it's nice when you make a mistake and laugh about it.
It's quite ironic I suppose, it's that thing about being in a group when you all start out as friends and then invariably end up hating each other. So I just thought they needed telling really, in case they were labouring under the apprehension that they were still friends.
The fact is that you don't want to be away forever, but you want to lead a normal life.
When you balance it against New Order, New Order don't work or tour relentlessly. We definitely work in our own way and sometimes it's a bit too slow for me, so I like to plan ahead and fill my time up.
I think that you have to bear in mind that music is about escape, and it's not unreasonable to think the music business would be based around escapism.
Film is such a powerful medium. It's like a weapon and I think you have a duty to self-censor.
When you're starting out, you know, you have to do something on a very limited budget. You're not going to be able to have great actors, and you're most likely not going to have a great script.
48 frames per second is something you have to get used to. I've got absolute belief and faith in 48 frames... it's something that could have ramifications for the entire industry. 'The Hobbit' really is the test of that.
As a filmmaker, you want nothing more than to have people say, 'I love your movie.'
In the old days, you cut out a scene that might've been a really great scene, and no one was ever going to see it ever again. Now, with DVD, you can obviously... there's a lot of possibilities for scenes that are good scenes.
Every time you do something, people are going to like it, people are going to hate it. You tend to make the movies on the basis you are making them for the people who are going to like them and not worrying too much about people who don't like them.
It is now such a complex society in terms of media. It just comes at us from every direction. You kind of have to push it all away.
Second movies are great because you can drop into them, and it doesn't really have a beginning on it, particularly in a traditional way. You can just tear into it.
When I was about 14, I got a splicing kit, which means you could chop up the film into little pieces and switch the order around and glue it together.
Strategically, horror films are a good way to start your career. You can get a lot of impact with very little.
Obviously, movies, you're often on location, out in the rain or the sun, in a real place where the trees and the cars are real. But when you're on stage, as an actor you're imagining the environment that you're in.
If you take a regular animated film, that's being done by animators on computers, so the filmmaking is a fairly technical process.
To direct a genuinely animated film, you're really having meetings and discussing what you want with animators who then go off and produce one shot at a time that you look at and comment on.
If you make a trilogy, the whole point is to get to that third chapter, and the third chapter is what justifies what's come before.
I just think that we're living in a world where the technology is advancing so rapidly. You're having cameras that are capable of more and more - the resolution on cameras is jumping up.
If you're an only child, you spend a lot of time by yourself, and you develop a strong ability to entertain yourself, to conjure up fantasy.
Too often, you see film makers from other countries who have made interesting, original films, and then they come here and get homogenized into being hack Hollywood directors. I don't want to fall into that.
It's one thing to support your kid, but if you have an interest in what your child is doing, it makes it a whole lot easier.
One of the best things about growing up in New Zealand is that if you are prepared to work hard and have faith in yourself, truly anything is possible.
Obviously, with a CGI character, you're building a character in much the same way as a real creature is built. You build the bones, the skeletons, the muscles. You put layers of fat on. You put a layer of skin on which has to have a translucency, depending on what the character is.
There's a really classic cliche every time you switch the TV on - you see cops arguing. I have spent a day a week for many years in the presence of police and I have never seen them argue. It's a military hierarchy. They do what they're told. There's no bickering.
It's funny, but on a set there's a pecking order. There's a caste system, you know? It goes from the star down to the extra. That includes the crew as well. I've never liked that.
I've always felt that, in America, we're all equal. I don't care what you make or what kind of car you drive. You're not better than me.
If you tailor your news viewing so that you only get one point of view, well of course you're going to think somebody else has got a different point of view, and it may be wrong.
Always have a sense of humor about life - you'll need it - but always be courteous to boot.
I think you can be cynical about religion on occasion, and certainly skeptical about the degree to which some people use religion to manipulate other people.
There is something very intriguing about, for example, the sense of accomplishment that a small child has, which you might be able to reduce to aggression and libido, but which might also have some independent existence.
To have a liberal temperament is a kind of psychological boon, To be able to understand that someone you disagree with is not just a terrible creature but somebody with whom you disagree.
For 'Breaking Bad,' our offices were in the ugliest building in Burbank, California. Which, if you know Burbank, is really saying something.
The great thing about writing is that you always put yourself in the shoes of the character. If you're doing it right, you can see into the heart of all your characters. Usually, when there's a writing problem, it's because you aren't doing that.
In drama, you're interacting with other actors to tell the story. The camera is like the theater: it's the artistic fourth wall. In a screen play, you don't look at the camera and communicate with it. But with hosting, you're looking right into the lens and talking to the people. It is a different style, and it's fascinating.
Every actor starts out saying, 'I can play anything in the world: I'm only 25, but I can be a man 70 years old. I'll put on a gray wig and do it.' But nobody hires you for that. You have to play yourself on the screen.
You can do bad parts in good pictures or good parts in bad pictures and maybe get a little personal satisfaction. But the key to it all is good parts in good pictures.
I resent the label on cigarettes. If they're going to warn you, why don't they put the same sign at the entrance to every freeway or on every banana that's sold? You can slip on the peel, you know.
You cannot simplify human intelligence, emotion, and growth. To watch the frills and furbelows of a human psyche is fascinating.
It takes a while to establish a character. Richard Boone once told me he didn't really get the character in 'Have Gun - Will Travel' until the 16th show. You just plant a seed, water it, let the sun shine on it, and hope it blooms.
I think that films or indeed any art work should be made in a way that they are infinitely viewable; so that you could go back to it time and time again, not necessarily immediately but over a space of time, and see new things in it, or new ways of looking at it.
In a world where we can all be our own filmmakers, the old elites are disappearing and there is no desire to look at somebody else's dream anymore because you can go off and make your own.
I admit that death is not just about you, it's also about the people who love you.
I don't believe in the deplorable notion of realism in the cinema: you can over-reach it, and it becomes as false as convention.
In any situation that calls for you to persuade, convince or manage someone or a group of people to do something, the ability to tell a purposeful story will be your secret sauce. Telling to win through purposeful stories is situation, industry, gender, demographic, and psychographic-agnostic. It's an all-purpose, everyone wins tool.
The magic happens when you take facts and figures, features and benefits, decks and PowerPoints - relatively soulless information - and embed them in the telling of a purposeful story. Your 'tell' renders an experience to your audience, making the information inside the story memorable, resonant and actionable.
So when you tell a joke, you want to make someone laugh, or if you tell a story about someone who had a heart attack, it may be because you want the listener to exercise. Stories are tools to create social cohesion and to get humans to strategize together.
Language is a more recent technology. Your body language, your eyes, your energy will come through to your audience before you even start speaking.
I think any new technology that helps connect and create social cohesion is great. But at the end of the day, you and I are analog creatures. We have to take 'oohs and aahs' and convert them to 0s and 1s and then convert them back to 'oohs and aahs.' Narratives that work in social networks are the exchange of stories that are told well.
We tend to become social core groups, whatever our similar interest and background where we came through. It tends to be a filter through which people see themselves. It can be all different ethnicities. They can see themselves as San Franciscans, or Warriors fans. You want to build a tribe of viral advocates for that team.
Tribalism isn't a bad thing. If you're a Facebook user, or Twitter user or Foursquare user or LinkedIn user, those are all tribes... and they may even have sub-tribes. It's not pejorative, it's declarative.
Well, the idea is that failure is an inevitable partner on the road to success and, if you're not willing to confront failure, you can never find out how good you are.
Are you motivated? Are you coherent? Is your intention aligned? Are your feet, tongue, heart and wallet congruent? That intention shines through.
Nothing drew me to the film business. I was propelled by the fear and anxiety of Vietnam. I had been drafted into the Marines. My brother was already serving in Vietnam. I bought, if you will, a stay of execution - both literally and figuratively - and went on to graduate school of business from the law school that I was attending.
The minute you start the process of deciding to make a film and you're communicating that vision to anyone, you're in the process of selling. If you don't understand that, you're not in show business. You're just not.
When somebody is enthusiastic about a job opportunity - but gives off the feeling that this is not the only one they have on the table - they become more seductive in the employer's eyes. You become more desirable because it shows that you're making a conscious and thoughtful decision for the right reasons.
When you want to move somebody, you have to say to yourself: 'I'm in the emotional transportation business. I gotta move them, emotionally.'
A gun can be dangerous. But a gun can protect you, you can hunt for food with it - you know, the tool itself is a tool. The intention of the party using the tool is a part of the process, right? You know: the knife cuts the steak, stabs the person, saves somebody from danger, cuts somebody out of a car.
My mom used to tell me stories at night, read books to me - and I read 'em over and over and over again. And you know what I learned from that? I went back and looked at everything - Why do I like reading the same stories over and over and over again? What, was I some kind of nincompoop? No - the narrative gave me connection with my mom.
There's a sense of aliveness that comes from connection, shared experience. And you see it in every place. You see it when ball players jump up and down, gather at home plate, hugging, and it's not just because they're winning, it's that shared moment, that feeling of - we enter the world alone, we leave alone.
My job now, as Secretary of State for Northern Ireland, is to take this process forward, and that I'm determined to do, whatever old clippings you dig out and whatever old quotes you put before me.
What my job is, is to get on with getting the process of democratic politics, back on the road, entrenching the peace settlement, and I ask you to judge me on my record.
When you look at what I've done here, you see a consistent theme of reforms which is not driven by any dogma from across the water, but a radical agenda to make sure Northern Ireland's people enjoy equal opportunities, driven by the values of social justice.
You can get on with your job. I'm going to get on with mine. And mine is to deliver for the people of Northern Ireland, that's what they expect from me and I'm not going to be deflected by interesting academic or media speculation or attempts to take the whole debate back.
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.
With Will Shakespeare writing your government's propaganda, you can't go wrong, can you?
The passage of time is a continuing thing. At 18, you're going to live forever, and you are definitely not at 52, so that is a recurring topic. I still think it's the main stuff.
I suppose, in a way, one could say I may be less interested in my career than the audience is. Not to mean that I'm disinterested in my career, but I don't see it in terms of one stepping stone or, 'Now I'm going to go into my blue phase,' or what have you.
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.
If you're going to have a heart attack, mine was the kind to have. I'm thankful that it hasn't affected my output or my capacity to perform. And it has given me a lot to think and write about.
An artist is only an exemplary person if you can see in his works how life goes.
You can't be silent and create silence in being silent. So you have to create silence or, rather, the effect of silence, through words.
I love criticism. Equitable Life went down because management wouldn't brook criticism, but if you are in business, you have to hear what's going wrong.
Income-producing unit trusts are brilliant because if you can accept capital values will be volatile for a while, your dividend income will always be higher than what you get in the bank.
Quite often, people who build big businesses don't believe anyone else can run them, and you end up with an old rascal in their 70s and no one to take them on. I could name several - and I won't - who put themselves in that invidious position.
If you get back into the beginner mindset, you can unearth an energy and a fire that I didn't know I could even still possess.
I'm the lucky father to two young men. When any of your kids, and your parents feel this way about you, clearly, when your kids find what they love to do and they throw themselves into it, and they find joy in the doing of it, and it's actually work that's honorable, and, you know, all of those things, it's a great feeling.
There was a part of me that wanted to take my place next to, you know, Debra Granik. She's such a hero for me.
I try, in my films, to normalize things that maybe 20 or 30 years ago a film would have been about. 'Guess Who's Coming to Dinner' needed its own film, but now blended families you see all the time.
One of the great kicks of having a movie made is that you envision this world.
I've worked with some terrific actors. The list of guys that came on the 'Columbo' show, I mean they were world-class actors from all over the world - Oskar Werner, Laurence Harvey, Donald Pleasence, you know... foreigners.
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