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I'm old fashioned. I really think you should know how to draw before you start painting. I use charcoal and graphite; I put a skylight in. In my house, I turned the garage into an art studio. So I'm awash in art studios.
In the theater, you didn't have any marks. Your instincts in rehearsal told you what the blocking was. On film, they reversed it. They decided ahead of time what your instincts were, before you even arrived.
They wouldn't take me in the navy because of my glass eye. So I joined the merchant navy, who allowed monocular crew if you worked in the kitchens. You're not wanted on deck or in the engine room with one eye, but you're good to fire up the ovens and cook hundreds of chops.
When I was a kid growing up, you maybe secretly wanted to be an actor, but you never said.
You thought the stage, you thought Broadway: that was the pot at the end of the rainbow. The idea of being in Hollywood was like going to the Moon or Mars.
The whole thing was an actor's dream - getting a character that tickles you so much you can't wait to act as him.
Everything's a lot easier when you work with someone you know just about as well as you know yourself.
I always loved Kate Winslet, but after you meet her you really love her because she's a cool chick.
In open source, you really have to be near the watershed to have an impact on the source code. Customers want to be near the key contributors to the code, not a level removed.
We approached Yahoo and Jerry Yang and said that Hadoop is going to continue to be popular, and as it does, more and more of your team is going to get poached by other companies and come under pressure to leave. This way, you can control your own fate and destiny.
If you don't have the best product, you're not going to make it in open-source.
If you have 50 years in the business, you can probably count on only five good movies.
Success is a very tough mistress. For years, while you're struggling, she wants nothing to do with you. Then one day, you find yourself in the room with her, and even though the key is on the inside, you can't leave.
I do not believe that with a fictional character you can force yourself too far away from yourself. There has to be some of you in it.
Well, you have your regular classes, like three hours every other day, three times a week. You get twice a week to have an ice practice. Once a week you have weight lifting. It was great.
It's only 60,000. It's not a big town. It's a big hockey town. Everybody plays hockey when you grow up.
I think one of the things about writing in the studio is that the song hasn't matured, if you like, so quite often the vocals are early attempts. Whereas once you've taken it out on the road a bit, you learn more about a song.
I think that you get the mood of a song stronger if you get it right that way. On the other hand, you put some songs out live and they don't catch flight. They just flop. It is hard to tell until they are out there.
I think it is the weak and the young and the minorities that you need to look after to get a healthy creative environment - to get a lot of choices, a lot of different styles of music, a lot experimental stuff that everyone else feeds off.
You have independent films and independent music, but you don't have independent theme parks - I think, in a way, Burning Man is as close, probably, as you get.
What intrigues me is that you get a good bunch of musicians together, and interesting things will happen.
I think the rhythm is like the spine of the piece. If you change that, then the body that forms around it is changed as well.
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.
As many an architect will tell you, human behavior changes according to the environment.
I've talked to a lot of artists - painters, writers, musicians - many of whom have had great ideas on trains. The only explanation I have is all that stuff is coming at you while you're relaxed, so somehow it kicks you into hyperspace in terms of brain function.
The Capitol was an occasion where you arrive at a sign in the road that says you have arrived at a place you may not have expected to be, but you know how you got here: Next!
Once you start to look into the guts of climate change you find that just about every scientific institution in the world is conducting research on the issue.
Our career path has tended to be the most perverse and contrary approach to the entertainment industry imaginable, while at the same time doing the kinds of things that you have to do, the videos, the photos and all that sort of stuff.
The more poetry you have in the head, the more poetry you will understand because you will be getting to the roots of what it is that makes people write poetry at all.
There are times when parenthood seems nothing more than feeding the hand that bites you.
If you were shopping for a father, you'd have to take out a serious loan to afford mine. He's the best.
As you may know, I'm the co-founder and co-chairman of an asteroid company called Planetary Resources that is backed by a group of eight billionaires to implement the bold mission of extracting resources from near-Earth asteroids.
So while I can't tell you if bringing a child into this world is the morally-responsible to do, I can say that the future, much like the present, is going to be a whole lot better than you think.
If you give people unlimited time and money, they'll do things the same old way. But if they have to achieve the goal in a brief time, they'll either give up or try something new.
You might hear people decry the loss of privacy in today's world, but radical transparency is dramatically reducing violence everywhere. Most violent things happen in the dark when no one's watching, whether it's an oppressive dictator or someone causing violence in the inner city.
As sensors and networks continue to expand around the world, we'll see violence drop even further. After all, when there's a danger that your actions can be caught on tape and shown around the world, you're more responsible for your behavior.
If you have a fear of flying, don't. The data are very clear: If you have to travel someplace, the safest way is by airplane.
What decisions would you make differently today if you knew you would most likely live to be 150? How would you think about your 50s or 60s? How would you evaluate your career arcs or investments or even the area in which you live?
Your mindset matters. It affects everything - from the business and investment decisions you make, to the way you raise your children, to your stress levels and overall well-being.
Learning how to understand how technology evolves, using tools like a Technology Road Map, is what you need more than anything to ride on top of the tsunami instead of being crushed by it.
Did you know that Kodak actually invented the digital camera that ultimately put it out of business? Kodak had the patents and a head start, but ignored all that.
With faster Internet and better computers, you'd better believe we're creating and consuming more digital data.
If you've been wondering where the next gold rush is going to take place, look up at the night sky to our closest celestial neighbor. The next economic boom might just be a mere 240,000 miles away on the bella luna.
If you look back 600 years ago, royals' sole goal was to keep their wealth within the family.
The U.S. government doesn't build your computers, nor do you fly aboard a U.S. government owned and operated airline. Private industry routinely takes technologies pioneered by the government and turns them into cheap, reliable and robust industries. This has happened in aviation, air mail, computers, and the Internet.
If you stop and think about it, the form of propulsion used today hasn't changed in over a thousand years... since the invention of fireworks by the Chinese.
Many have built their careers buttressing the status quo, reinforcing what they've already accomplished, and resisting the radical thinking that can topple their legacy - not exactly the attitude you want when trying to drive innovation forward.
I love working with the same actors repeatedly. That happens a lot. It's kind of inevitable, especially if you work with the same writers and directors and you start to form a company of actors. You gravitate towards each other.
Bad guys are complicated characters. It's always fun to play them. You get away with a lot more. You don't have a heroic code you have to live by.
That's one of the things about theater vs. film - with theater, actors have a little more control, and one of the disappointing things about films is that once you're done shooting, anything can happen, you know?
I just think the less you know about an actor, the more serious you'll take them as an actor because they will disappear a little bit.
I think actors get too comfortable. I like being uncomfortable as an actor because it keeps you alive. I don't know, I think it's important.
Any swagger is just defense. When you're reminded so much of who you are by people - not a fame thing, but with my size, constantly, growing up - you just either curl up in a corner in the dark or you wear it proudly, like armor or something. You can turn it on its head and use it yourself before anybody else gets a chance.
Writing is getting killed by too many chefs. Back in the Bogart days, it started with great scripts. You had a writer, and he wrote a script, and that was your movie. I think that's been watered down a bit lately.
There's a thing at the Museum of Natural History in New York, where I live: they have a stairwell where you follow the beginning and the course of this planet, and it's a very long stairwell, and you follow, and you follow, and then you reach the top, and we're, like, half a step on the stairwell - the timeline for us on this planet.
With a lot of shows, what you'll see happen is they start off really well, and they're very original, but they become sort of a version of themselves. They stand outside the show... they become a cliche of the show they once were. That's the whole 'jumping the shark' thing.
The reason I like 'Breaking Bad,' which is still probably my favorite show, is Walter White. You watch him transform, and that's so fascinating. And I think. a lot of TV shows that aren't successful, it's because the characters become stagnant.
I think everybody goes through changes, and the same should be said for fictional characters, especially ones that you follow on television.
I saw a report on the news: 'Peter Dinklage tweeted... ' What? You know, I don't need any of that stuff. I got an email account; that's all I need.
The greatest preparation for a TV show is to already have one season behind you.
Sometimes, when the material is really good, you put expectations on yourself to make it the best possible show. You're not just serving up the regular hash and doing your job and going home.
I have a friend - not a dwarf - who's an alchemist of sorts. He concocted a men's cologne... He gave me a bottle as a gift. I was thinking we should totally put this on the market. You know how Jessica Simpson and Beyonce have signature perfumes and make a mint? I'm thinking this cologne could be my ticket to fortune.
I don't think money can help you become a better painter, for sure. You can have all the studios you want; it won't help you make a better painting.
You cannot just be working in a vast, air-conditioned loft space and think you are going to make a decent painting. Francis Bacon had a special studio built, and he felt completely emasculated in there. I have to be somewhere comfortable.
As an artist, you are aware there is this strange money market out there, but you have no sense of how it works.
If you are someone like Jeff Koons, and you have to work out how to make a big chrome heart or something, then there are lots of people and a big production involved. The money is more natural somehow. For me, I am just on my own in the studio, trying to make things work. One thing is sure: it doesn't make painting any easier.
Management by objective works - if you know the objectives. Ninety percent of the time you don't.
Company cultures are like country cultures. Never try to change one. Try, instead, to work with what you've got.
In New York, a Jew is a Jew, an Italian is an Italian, a Muslim is a Muslim: Nobody's going out of his way to treat you in a special way.
If you were a son of mine, I wouldn't want you to be an architect, because it's a tough way to be in the world.
People are put off by the perception of science fiction, and it doesn't help if you've got references to quantum this and quantum that on the first page, and people think, 'This isn't for me,' and chuck it. I'm probably a pretty bad offender, given how far in the future some of my stuff is.
The whole point of science fiction is that you explore the effect of ideas on a society.
Once you have extrapolated the effects a particular science will have on society - cheap clean energy, rejuvenation - the political impact is quite easy to predict. The two are twinned.
We've been shooting the last two weeks with a lot of vampires. I don't want to give away too much, but if you've read the books, it's the standoff with lots of vampires in play. There's like 70 people going through the works at once. It's a little maddening, but fun. We shot pretty much the ending of the two movies the other day.
My advice has always been to study the craft of acting if you want to be an actor. There are many great schools that teach acting. NYU being one of them.
What I like about the third movie is you get to see a side of Carlisle you haven't seen before. You actually get to see what his vampire capabilities are because there's some great battle sequences. It's my favorite book. Carlisle is holding on to that humanity. He doesn't want to be a vampire.
What I've learnt being an actor is that you've got to be lucky. I got less lucky, and nobody was interested. If a part came up, it would be for the main corpse's friend's brother who was having problems with his marriage.
The only time I've tried to make plans, the cosmic sledgehammer has intervened and something else has happened. You just have to wait and see what comes your way, so that's what I do.
I've been really terrible in a lot of things because I learned by making mistakes. That makes you a different kind of actor, because you have to figure out for yourself what you do.
One of the very, very exciting things I have found here in L.A. is that no one talks to you about being Scottish. Whereas, if you are in London and you are trying to put films together and be a film-maker, there is a kind of unspoken sense that, if you are Scottish, you have something to overcome or else you cannot really do that project.
The biggest thing I have realized was that you have to choose your collaborators very carefully, and that not everybody can like you. The process of filmmaking is so difficult, there's no point in doing it unless you can do it the way you want.
What annoys me about it is that your fate is always in somebody else's hands. It's always up to somebody else to decide whether or not they want you in their show and so the majority of actors have to play out a waiting game. The constant fear is that it could all end tomorrow.
The difference between movies and TV is that in TV you have to have a trauma every week, but that event may not be the biggest event in the characters' lives.
What you're doing is acting with yourself. Well, I'm my favourite actor, so in a way it's quite straightforward for me.
I was always admiring people who seemed to conduct themselves with ease in the world. Maybe that's a great gift to give your kids if you can do that. Because they can move through the world without neurosis, this anxiety about everything, which our own parents gave us.
Crime is interesting. It's huge and fascinating, and it's what my business, TV and film, is largely based on. But the realities are tragic, and in crime drama you rarely see the pain of bereavement or any consequences. It's reduced to a chess game.
I'm not terribly well read. My wife forces books into my hands and insists I read them, which I'm grateful to her for. She made me read 'War and Peace.' The whole thing. It was amazing, but I had to hide it. You can't walk round reading 'War and Peace' - it's like you're in a comedy sketch and you think you're smart.
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