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What you want is the thing that critics love and audiences love, but that's the hardest thing to do.
I love funny people, and when I'm with funny people, or people who are amusing in their weirdness, I love it. Because that to me is funny, as opposed to someone who stops and says, 'Hey let me tell you a joke.'
At the end of the day, successful box office just means that more people saw what you did and liked it, and that to me is the most important thing. That a lot of people saw it and liked it.
One of the biggest things you have is your reputation and your reputation with knowing what's good and what's not good.
'Nuclear' is nothing but trouble. Do you say 'new-clear' or do you say 'nuke-you-ler'? Whoever invented that word had obviously never studied the human mouth. We don't have enough muscles in our face to make that group of letters come out smoothly. The word is missing a middle syllable, for cryin' out loud.
'Constitutional' is just a real pip of a word. Positively rolls off the tongue. In fact, it's downright fun to say. 'Con-stit-too-shun-al.' It's the verbal equivalent of skipping down the street with an ice cream cone in your hand. It's like a semantic bag of Lays potato chips. You simply can't just say it once.
You want a happy ending, but not such a ridiculous happy ending that it doesn't mean anything to anybody.
I'm a pretty feminized geek, you know? I have that point of view, I grew up around a lot of girls, so I'm pretty sensitive to that. But I don't dare say 'I know how women think.'
What you never want to do is have a story that doesn't track emotionally, because then you're going joke to joke and you're going to fatigue the audience. The only thing that's going to string them to the next joke is how successful the previous joke is.
You can never have a thousand percent batting average on jokes - it's just never going to happen.
Everyone takes pause at 40. It's the age you have to assess everything in your life. It's the fictitious marker that's always coming up when you're young. The world really does look at you to kind of have it together by 40, and be successful by 40. Whatever success means.
Forty is the line of demarcation that says you're an adult now. You're an adult, so don't pretend you're a kid anymore.
It's healthy to have older friends. You go, 'Look, I'm younger than them!' That's always the nice thing, if you can be the youngest one in the room at times. Like if you're always the oldest one in the room, you'll start to feel like the oldest person in the world. So get older friends, because they're cool. Get cool older friends.
The more suits I owned, the more I realized the best besuited look a man can achieve comes from a harmony of three details: fabric, construction, and fit. If the suit fits you like a glove and it's well made, you simply feel better about everything in life when you're wearing it.
I'm from Mt. Clemens, Michigan. It's right outside Detroit. The suburbs. I was always very heavily involved in theater back then. I was always in drama club or forensics. Anything that you could do that had some performing, I was doing it.
I should tell you that many people think that authors just cut and paste from real life into books. It doesn't work quite that way.
I'm a very careful, slow writer, and I think a lot of that comes from the care required to be a hand-printer, where if something isn't spaced out enough, you take little slivers of brass or copper and put them between each letter.
Warming is incontrovertible, so in general, you're going to have more droughts, more fires. So I think events like that are the best thing that could happen for righting our ship and getting us on a safer course.
The more violent the body contact of the sports you watch, the lower the class.
The worst thing about war was the sitting around and wondering what you were doing morally.
After my debut didn't go very well with Holt, I needed to be in a healthier head space. I was happy to emerge from there. You will always have those negative thoughts as a writer, but you can't let them take over. If you let them take over, those are the real page killers.
Whenever you bring reality TV into the mix, it's only a matter of time before, whatever fiction you come up with, it'll become real.
When you trust your subconscious enough to put something in a story and then figure out why it really needed to be there later, when that works out, aye, that's the stuff.
Chance, choice, and consequence are fundamental parts of existence and perfect fodder for a horror story - or any story, for that matter, that asks, 'How do you live through this? How does anyone live through this?'
For me, science is already fantastical enough. Unlocking the secrets of nature with fundamental physics or cosmology or astrobiology leads you into a wonderland compared with which beliefs in things like alien abductions pale into insignificance.
Cosmologists have attempted to account for the day-to-day laws you find in textbooks in terms of fundamental 'superlaws,' but the superlaws themselves must still be accepted as brute facts. So maybe the ultimate laws of nature will always be off-limits to science.
Whether baseball or football, we're tasked in front offices with making decisions under uncertainty. How do you corral that uncertainty in a way to make more consistently better decisions? That's very similar.
There are certain times when you see a guy, and you say, 'He's a big-leaguer.'
Are there things you can do with the rest of your personnel or are things you can do schematically to help a quarterback? I think so. But at the end of the day, that quarterback still has to be a driving force of your team, especially if you want to be a consistent winner over time.
I think the hardest part, and where we have to stay the most disciplined, as much as you want a player, you can't invent him if he doesn't exist.
Circumstances change and you have to be proactive about changing with those circumstances.
If you have to remind people you're the boss, I don't think you're going to be a very effective leader.
Moneyball' doesn't have anything to do with on-base percentage or statistics. It's a constant investigation of stagnant systems, to see if you can find value where it isn't readily apparent.
The science-fictional motif of lethal, infectious information - bad memes - is a fascinating one, with an extended history. One of the earliest instances is Robert W. Chambers's 'The King in Yellow' from 1895. Chambers's conceit is a malevolent play: read beyond Act II, and you go mad.
Everyone can guess what 'Corn Flakes' tastes like, even if you've never had them. But what, pray tell, does 'High School Musical' or 'Spider-Man' cereal possibly taste like? In this late era, we have reached the ultimate deracination between product image and what actually sits on our spoon.
One posthumous measure of a person's life is how often you imagine his impossible return to deal with some event he never lived to encounter. You picture his reactions, his advice, his sage commentary and humorous asides. For instance, I think about Mark Twain's hypothetical take on current events several times a week.
Ribofunk indicates a focus on biology as the upcoming big science in the way that physics was for the last 50 or 100 years. If you look for a biological thread throughout science fiction, you can find it, but it's a very small percentage of the total. That's been changing in the last few years.
You could engineer a human to survive the greenhouse effect because you think that's what's going to happen, and then all of a sudden the glaciers are creeping down on you.
What makes Batman and what makes other superheroes work is the myth that when life is at its lowest, and when you need a hero, a hero swings down and helps you.
You have to remember, when someone hurts you, that you are so much more than what they took from you.
When you do an animated series and add characters who are not from the canon, you really have to win over the hardcore fans.
In every story I've written with Batman, there's an element of justice - you never want to have the story end on a defeatist or a cynical note.
When it's only you that you can rely on, you're surprised at the resilience you have.
If you let tragedies stop you along the way, then you're never going to grow as a person.
You don't have to limit yourself or feel that you've been limited by an act of cruelty.
In those times when a kid first tries to express themselves creatively, it sets them on a different path. Sometimes, that path can be really wonderful and can lead to a career doing some of the things you love. I also think that the price on that is a certain amount of alienation or distance created between a lot of the people around you.
When you're writing for a game - even if you're using very well known characters like Batman and his villains who lend themselves to many different interpretations - you have to keep in mind that you're writing for a different medium. Things are a bit more straightforward than it is for a feature film or a TV show.
You can have villains like the Penguin, who strut around in a tuxedo with an umbrella, and Poison Ivy and all of the fantastic stuff she does, but unless there's a bit of a human in there, and unless there's a credible threat, then Batman himself doesn't work.
I look at the Marvel movies and the DC movies and various creators' creations, and I think, you know, that's really pretty cool.
I have played games like Angry Birds and, you know, Plants vs. Zombies and things like that just for fun on the phone and everything.
I think you have to serve a lot of masters when you're doing a video game: you're not just telling a linear story or doing something that's all action.
If we made the 'Batman' games more realistic, you'd have to be Bruce Wayne for half the game, counting his money and dating supermodels.
If your child has something creative they really want to do, it's up to you, their parent, to help make that happen.
Encourage your kids to be creative. When you see them tracing a character from TV or a comic, say something like, 'That's nice. Now how about you create a character yourself?' Keep kids curious and excited about creating.
I think that when you've got a world in which it's plausible to have a guy dressed as a giant bat and fight evil clowns and other nightmarish freaks, I think the world has to be visually a little more arresting than a regular world.
That's the thing about writing for a lot of the villains is that, as a writer, you kind of have to put the best part of your own personality aside and instead focus on whatever little strange quirks you may have in your personality.
I should like to suggest to you that the cause of all the economic troubles is that we have an economic system which tries to maintain an equality of value between two things, which it would be better to recognise from the beginning as of unequal value.
A lot of us are secretly scared, for whatever reason, and so we get in our own way. But if you really want something, you have to ask for it.
There's so much to argue about. That was the goal with 'Really Really.' Somebody asked me once, 'How should I feel when I leave?' and I said, 'Hopefully, you're talkative.' I don't really care if you're happy or sad or loved it or hated it or hate me. The goal is that you have something to say, that you have a response.
I'd say there are two kinds of theater: one you end with an answer, one you end with a question.
From an actor's point of view, if you are watching something, and you see improv, you know it. Because of your experience, you just bloody know that wasn't written.
I was in a band till I was about 17; then I went to television, and I spent seven years doing that. When I came to Seattle, I started to audition for things. The passion's always there, and that's what's been the hard thing: to fit that passion into a normal life. You can't do it. You can't have a normal life and pursue this dream.
I've always felt I had the talent. I've done a lot in my life. I've written, been in bands, done live TV for a network in Perth. I'm well-trained when it comes to being on a set, which gives you freedom.
You simply couldn't make a living as an author if New Zealand was your only market.
Nobody's a natural. You work hard to get good and then work to get better. It's hard to stay on top.
You learn by playing a great team, and I'm talking about character things, not hockey technique.
Anyone that coaches their son, you expect more out of your boy. I'm not talking about stats, but I expected him to be the hardest worker out there.
I don't think longevity gets enough credit when you're talking about a player.
My mother passed away of complications of dementia. As you get older, it really makes you realize how many people are touched by this disease.
That feeling in the dressing room after you win - nothing comes close to that. You can't get that in any other career. Maybe in the stock market back in the '80s when people were making tons of money, maybe they felt something similar. Maybe. But look at the market now. Nothing gives you that emotion like sports. Nothing. Am I wrong?
Britain is one of the biggest arms dealers in the world, after the States. There's a lot of money in weapons deals. We sell weapons, and our responsibility ends as soon as they leave the country; they're unpacked, and then before you know it, they're spread around the world.
Everything you do, every experience that you have, enlightens you a little bit or worsens you.
There's a lot of people that I would love to work with. There's a lot of different kinds of parts I wanna play. As your career progresses, you hope that you get some more opportunity or some more choice.
It's a funny thing. You sort of never figure it out with acting. You're always learning.
One thing you notice is, there's a lot of people with raw talent, and then there's people who take that talent and work hard.
There's that thing that if you want to have any kind of lasting love, I think you have to love the whole person and not just the parts of them that you choose.
With somebody like Harrison Ford, they're so commanding and confident, and you know, he does have a certain power or charisma, and those are things that are sort of ineffable.
You try to get to know your character as best as you can before you start filming - what's written and not written.
I've seen people, where if they have to wait around the set for three hours, and they call you at the wrong time, and they're not ready for you, some people don't like that.
Some projects go as you hope or imagine, and some change or reveal themselves in a different way; it depends.
The way Hollywood works, you're never sure if their first thought is to make a great film and honor the material or just another business property.
I think the intelligent thing about it is that you have to carefully listen to it all to grasp it, and because I'm not in every scene - colossal disappointment to everybody that it may be - I'm not getting the full picture here today while recording it.
To tell you the truth, it's a complex piece, so I can't really answer your question at present.
Also, from a technical point of view, as you're standing in front of a microphone all day, it's quite a good idea that I should play a laid back sort of character because if he was too frenetic, I'd be exhausted by lunch!
He's psychologically damaged, I suppose, if you stand back and look objectively at him, but then, who isn't?
I want to believe that those who have been appointed to accomplish this mission will be totally committed, devoting all their skills and determination to their work. I urge you to lend them your support so that, together, we can build that bright future worthy of our country.
I want to convince you that humans are, to some extent, natural born essentialists. What I mean by this is we don't just respond to things as we see them or feel them or hear them. Rather, our response is conditioned on our beliefs, about what they really are, what they came from, what they're made of, what their hidden nature is.
Maybe one of the most heartening findings from the psychology of pleasure is there's more to looking good than your physical appearance. If you like somebody, they look better to you. This is why spouses in happy marriages tend to think that their husband or wife looks much better than anyone else thinks that they do.
It's really difficult working with kids and with babies because they are not cooperative subjects: they are not socialized into the idea that they should cheerfully and cooperatively give you information. They're not like undergraduates, who you can bribe with beer money or course credit.
Having kids has proven to be this amazing - for me, this amazing source of ideas of anecdotes, of examples, I can test my own kids without human subject permission, so they pilot - I pilot my ideas on them. And so it is a tremendous advantage to have kids if you're going to be a developmental psychologist.
You'd expect, as good Darwinian creatures, we would evolve to be fascinated with how the world really is, and we would use language to convey real-world information, we'd be obsessed with knowing the way things are, and we would entirely reject stories that aren't true. They're useless. But that's not the way we work.
The genetic you and the neural you aren't alternatives to the conscious you. They are its foundations.
More-radical scholars insist that an inherent clash exists between science and our long-held conceptions about consciousness and moral agency: if you accept that our brains are a myriad of smaller components, you must reject such notions as character, praise, blame, and free will.
Enjoying fiction requires a shift in selfhood. You give up your own identity and try on the identities of other people, adopting their perspectives so as to share their experiences. This allows us to enjoy fictional events that would shock and sadden us in real life.
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