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You get one chance to do something about native title. You get perhaps one chance in your life to do something about a republic. You get one chance, your chance, to build a piece of the political architecture in the Pacific. I wasn't going to give those up.
I always believed in burning up the government's political capital, not being Mr Safe Guy, you know?
I used to say in the cabinet room, 'confidence is not like a can of Popeye spinach - you can't take the top off and swallow it down.' You know, confidence has to be earned.
I have said before, you don't expect conservative parties to believe in much, but you do expect them to believe in thrift.
Politicians never fade away; they just keep carrying on, you know, their class.
The only reward in a public life is public progress. You stand back and say, 'What did I get out of it?' You look around, and the place is better, and that's it.
Beauty is as relative as light and dark. Thus, there exists no beautiful woman, none at all, because you are never certain that a still far more beautiful woman will not appear and completely shame the supposed beauty of the first.
The great thing about fiscal policy is that it has a direct impact and doesn't require you to bind the hands of future policymakers.
As I've often said, you can shop online and find whatever you're looking for, but bookstores are where you find what you weren't looking for.
If you want a good education, go to private schools. If you can't afford it, tough luck. You can go to the public school.
When someone leaves an office, often there's a series of successors until you settle on one.
An actor shouldn't undergo psychoanalysis, because there are a lot of things you're better off not knowing.
The dining room in my old house was truly magnificent, but by far the worst room for conversation. I'd get up from the table, a very long table, and somebody would always say, Paul, I never got to talk to you.
A room is like a stage. If you see it without lighting, it can be the coldest place in the world.
The sound is the key; audiences will accept visual discontinuity much more easily than they'll accept jumps in the sound. If the track makes sense, you can do almost anything visually.
Among the reasons for this was the fact that the U.S.A. is one mass market. It is only when you have a mass market that large-scale manufacturing which involves very substantial expenditures can be justified.
You're here to sweat. This program is live. There's about one thousand million people watching you. So, you remember - one wrong word, one foolish gesture and your whole career could go down in flames. Hold that thought and have a nice night.
I'm not an aspiring young actor; I'm a storyteller who made it late in life, and I'm therefore an inspiration to everyone who thinks that, at 23, if you're not in the Backstreet Boys, then you're never gonna make it.
I'd never walked on snow 'til I was 50, you know. There's no snow where I come from.
To make a full-blooded puff pastry, you need time, you need patience, and you need precision. It's all about the lamination: it's all about building up the layers of butter, dough, butter, dough; as the butter melts, it creates steam, and that brings up the layers of the two doughs apart from each other, and that's what gives it the rise.
I don't believe in diets. They don't necessarily work. What they do is scrub your weight down, but as soon as you finish, you naturally go back up. I keep everything in my diet - gluten and sugar - I just cut it down a little bit and train more. It's not rocket science.
Crumpets I make myself. I love crumpets. You can't beat a good home-made crumpet.
I can't go to sleep on a train anymore because people take photos of me. You know, dribbling. It's a bit embarrassing. I go to sleep with my collar up.
The key thing is to educate not just kids but adults about what goes into food. You do that in any way you can, bread machine or not.
Ironically, when I was in Dubai with the BBC 'Good Food Show,' even though it's an urban area, when you see the vast panorama from the top of the Burj Khalifa, it feels remote, as if it's just sprung up out of the desert. I like Dubai. I didn't think I would, but the food and the people were great.
It's a great thing because I've said to my lad, 'What do you want to do today - football, shopping, playing a game?' and he says, 'I want to bake with you, Dad.' And he loves it, baking with me.
You can't beat a good doughnut. It has to be a jam one with light pastry and caster sugar on the outside. If I'm really tired, I have to hunt one down, because it gives me that sugar rush to keep me going.
I can judge a restaurant by its bread: it winds me up that a lot of places buy pre-packed ones in and don't bother putting them in the oven to crisp them up again. And you shouldn't put bread on a side-plate: it needs to be pushed back into the centre of the table.
Some people seem to think their oven self-cleans, but you need to clean it to stop things getting blocked up so you get a good rotation of air and heat inside. Get a probe to test the oven is reaching what it says it's reaching too.
It's funny to find there are still people around who think if a musician has schooling, it automatically makes him a lesser jazz player. But you don't learn jazz in school.
Jazz is a way of life, and you have to learn about it on the street, so to speak. But the training comes in by giving you the tools to work with.
It's not music you can evaluate in traditional ways. If you look around at a concert, you might see what look like bored people, or maybe they're drifting, but they're just having another kind of experience, an inner thing.
Never get married in the morning - you never know who you might meet that night.
The problem is, when you come back in you're sweating, so I wait until the very last minute before putting on my shirt so that it's not covered in sweat.
Whatever you vividly imagine, ardently desire, sincerely believe, and enthusiastically act upon... must inevitably come to pass!
If you are not making the progress that you would like to make and are capable of making, it is simply because your goals are not clearly defined.
What you fill your mind with is eventually translated into the words you speak, and then your words create action.
When you view your world with an attitude of gratitude, you are training yourself to focus on the good in life.
Your self-image is the result of all you have given your subconscious mind as a database, so regardless of your background, what you are willing to become is the only reality that counts.
If you are fearful, choose courage. If you frequently procrastinate, choose to take action now. If you have always waited for others to lead, use your own initiative.
Life is a painting, and you are the artist. You have on your palette all the colors in the spectrum - the same ones available to Michaelangelo and DaVinci.
One of the categories of people I don't like much are intellectuals. People say, 'Oh, you're an intellectual,' and I say, 'No!' What is an intellectual? An intellectual is somebody who thinks ideas are more important than people.
I was very fond of Princess Diana. She used to have me over to lunch to ask my advice. I'd give her good advice, and she'd say: 'I entirely agree. Paul, you're so right.' Then she'd go and do the opposite.
A programming language is for thinking about programs, not for expressing programs you've already thought of. It should be a pencil, not a pen.
In terms of the brain, you can in a crude way think of the human brain as a computer.
I'm sure our brains are working unconsciously. When you have a creative thought, it's parts of the brain talking to each other without your awareness.
The knowledge we have of communication among cells does not permit my giving you a sophisticated understanding.
You should only go into science if you really have a yearning to make scientific discoveries.
Science is not the glamour that's portrayed in films. It's a lot of drudgery work, along with the wonderfully exciting periods when you discover something.
We do not know with any of these neuropsychiatric disorders what the ultimate basis is. Let's say you could find that too much of protein X was involved in schizophrenia. Would you then know what schizophrenia is? You would not.
In the end, it's acting, it's not real. But every director will tell you that you have to create conditions that create tension, because tension is what makes drama feel real.
Making a film, every film, is a big gamble, large or small. The more that you do it, the more you're aware of that.
With a franchise movie, it's got to turn the wheels of the industry, and the studio has to have them. So you start with a release date. They say we're going to make a new 'Bourne' film, and it comes out summer of X. Then they start on a script, and invariably, the script is not ready in time.
In my little imperfect way, what I'm trying to do is understand the world. As a filmmaker, you realize as you get older that each film is part of a dialogue you're having with yourself. That started when I was working in documentaries. And in a way, I've never deviated from it.
Making movies is both entirely ludicrous and incredibly hard. It's a preposterous way to spend your time. You give up a lot for the privilege of doing it, and one of the things you get are relationships of immense trust that you see forged in situations of immense stress.
I always tell young film-makers, 'Find the song that only you can sing.' It doesn't just come to you. It's trial and error and disappointment before you find, slowly but surely, the confidence to express your film-making identity.
Acting is many things, and one is an exercise of will. In any given scene, you're trying to find where the drama and conflict is and then deploy the actors to play at that point of conflict with precision, control, and complete will.
The most important thing as a filmmaker, the hardest journey you'll have, is to find your point of view.
All directors make films in individual ways. But the classical kind of view of filmmaking is that you have a script, and it's very linear. There's a script, then you're going to shoot the script ,and then you cut that, and then that's the end of the film. And that's never really been how I've seen it.
You know, dramas are much more expensive to do than say a comedy, so any kind of deficit like that is picked up on when it comes time for them to pick up new shows.
The real rub is finding that authentic self and it's not something that's going to come to you overnight.
I've always thought really good artists in general are overqualified. You're paid to stand there and do a line, but the guy has probably gone to drama school... but they have developed it to be just, like, one specific line.
I think everyone, all of us, are complicated people. We have jobs that require us to be a certain way. We all do. Unfortunately, our jobs overtake our personality, but that is the world. We live in a conundrum. You have to keep it together.
The wonderful thing about Clint is you can never second guess how he is going to react to anything.
I just asked myself, what piece of that man's soul did he just chew off and swallow to get next week's assignment? You know, just to live, just to work as an artist, or to feed the family?
I don't think it's the job of filmmakers to give anybody answers. I do think, though, that a good film makes you ask questions of yourself as you leave the theatre.
We give you characters we'd feel very comfortable judging, and then go: 'Oh yeah? Watch this'.
'Crash' was incredibly personal to me. So was 'In the Valley of Elah.' There were things in 'The Next Three Days' that were questions I was asking myself but couldn't answer, like how far would you go for love? Can you believe in somebody who can't even believe in themselves? But this is highly personal.
I just figure if you have a modicum of celebrity, you need to use it, and you need to use it for more things than just promoting yourself or your film or your image or your product.
I wrote an episode for 'thirtysomething,' and a producer said, 'That's really good, but what is it about? What does it say about you? What questions are you asking yourself?' I had never thought about that. This comment changed who I was, because it made me look at my own soul, the dark corners in my soul, and accept that dark side.
Even in a comedy, you have to make people feel. You have to put your hand inside their soul and twist out their heart.
You have to have empathy, knowledge and compassion for your characters if you're a writer.
I try not to think of actors as I'm writing because I think you do them a disservice by writing for things they've already done.
In Scientology, in the Ethics Conditions, as you go down from Normal through Doubt, then you get to Enemy, and, finally, near the bottom, there is Treason.
I have so many questions about love. How do you win at it? Especially if you're in a relationship with an impossible person? What if you believe in someone who's completely untrustworthy, who at their core can't even believe in themselves?
Even a modicum of celebrity is hard to deal with. You see it with actors and directors all the time.
Film is an emotional medium; it's not a logical medium. It's not an intellectual medium, so every decision you make as a filmmaker and an actor has to be emotional in some way, even in the rejection of logic.
You can't plan for people to like your movies. I knew that people were not going to run in droves to the theater for the 'In the Valley of Elah.' I knew they might not want to see it, but I still had to the movie; I felt very strongly about it. Wanting to keep telling a good story is what you want to do, a compelling story.
I don't think I'm against all wars, but you'd have to have a damn good reason to send your son or daughter to fight, or to go yourself. So often, we are lied to and manipulated by our governments for their own very cynical reasons.
You don't make a film because the audience is ready for it. You make a film because you have questions that are in your gut.
All my work is partly biographical. I mean, 'Crash' was absolutely that, absolutely. But you just wouldn't recognize me in most of those characters. But I was in every single one of those characters in 'Crash,' because those were all fears that I had felt. Things that I had thought in my deepest, darkest heart.
The worst thing you can do to a filmmaker is to walk out of his film and go, 'That was a nice movie.' But if you can cause people to walk out and then argue about the film on the sidewalk... I think we're all seeking dissension, and we love to affect an audience.
I worry that if whatever pops into your head at any instant immediately goes online, you lose the crucial time for your thoughts to simmer and evolve and build up nuance, depth and empathy.
The fictional world seems larger, seems to have more dimension and richness when, for example, the protagonist from one novel you've read has a cameo role in another. I think that recognition is a very, very powerful phenomenon; it is one of the deepest and greatest pleasures of reading.
Ever occur to you why some of us can be this much concerned with animals suffering? Because government is not. Why not? Animals don't vote.
One vote. That's a big weapon you have there, Mister. In 1948, just one additional vote in each precinct would have elected Dewey. In 1960, one vote in each precinct in Illinois would have elected Nixon. One vote.
Always leave enough time in your life to do something that makes you happy, satisfied, even joyous. That has more of an effect on economic well-being than any other single factor.
If, as is natural, you focus on the corruption and on those threatened institutions that are trying to prevent change - even though they don't really know what they're trying to prevent - then you can get pessimistic.
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