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An error doesn't become a mistake until you refuse to correct it.
One of the most lasting pleasures you can experience is the feeling that comes over you when you genuinely forgive an enemy - whether he knows it or not.
The fellow who says he'll meet you halfway usually thinks he's standing on the dividing line.
Temptations, unlike opportunities, will always give you many second chances.
I think a film set is a quite controlled environment and you feel like you can trust them and it is going to be a safe place to work, but I really don't think about it.
When everyone around you is doing all this incredible pirate acting and you're having to sort of play the straight guy and move the story forward, you kind of want to be doing some of that pirate ripping it up stuff, but in truth, to be a part of that project is what I love.
Yeah, I mean the material, directors, the other cast, and if you think you can do something with the character then you do it and go from there. I am looking forward to doing some smaller movies.
People come into your life and people leave it... you just have to trust that life has a road mapped out for you.
Although it is a fantasy film, it's as real as it can be. You have to imagine that an audience will buy their ticket to a cinema and get on a first-class flight and journey to Middle Earth.
When you start falling for somebody and you can't stop thinking about when you're going to see them again, I love that. Women are beautiful. They deserve to be cherished and respected.
I know you can be up one minute and drop the next, so I'm trying to maintain a steady course so I can have some longevity.
I'm quite sensitive to women. I saw how my sister got treated by boyfriends. I read this thing that said when you are in a relationship with a woman, imagine how you would feel if you were her father. That's been my approach, for the most part.
I'm amazed that things have panned out the way they have. I always say I'm so lucky, though my mum always says, 'You make your own luck.'
Be comfortable. I think if you're comfortable, you exude confidence, and that leads to good style.
Attraction doesn't stop when a child is born. It's the opposite. Being a mum and dad makes you even sexier.
My baby is amazing; even his head smells amazing. His breath, the whole thing, you could eat him! He's a big, beautiful boy. He's great.
I was quite fearless as a kid. But I've had to realize I'm not invincible. That's what breaking your back does. It makes you grow up and reassess life.
As an actor, you can't think about the end result or the fame; you just have to focus on the day you're in. You have no control over the finished product, what people will think of it, so all you have is the experience of making it, and you have to stay focused on that.
Trust me, you have to fight. When people are wrong, you've got to let them know it.
You give the guy an Image Award three years in a row and then turn on him like that? If that's the role they want to fulfill, they need to send a clearer message.
I became acutely aware of how important it is to separate the difference between who you are and who the character you're playing is.
Ultimately, the core premise of 'American Gods' is, 'What do you believe?' And how your beliefs can be manifested into reality.
Graphic novels and comic books, by and large, as you know, have cover art, and they have interior art. The interior art is never as detailed as the cover art.
In New York, people are pretty cool, and you don't catch a lot of grief. But in certain spots, man, it's over. If I stand in the same place for more than 20 minutes or 10 minutes or something, there'll be 40 people standing there, all screaming something different.
If you come on the set of 'Sleepy Hollow,' and you go, 'So, is this a 'Once Upon a Time' spinoff?' That's right when we start slappin' people. It's right then. Now if you came on the set, and you were like, 'I like this show. It kinda reminds me of 'Supernatural,'' that gets you a high five.
Anytime you have a family member getting out of prison, there's always drama.
I've been in fandom for a really long time. Back in the day, you had to go to a con to engage in fandom, and that was really the only way.
Even when you write it, someone's got to play it. So if you can play it and bypass all the rest of the things, you're still doing as great as someone that has spent forty years trying to find out how to do that. I'm really pro-human beings, pro-expression of everything.
I asked my mother could I have an instrument. She said, 'Well if you go out and save your money.' So I went and got - I made me a shine box. I went out and started shining shoes, and I'd bring whatever I made.
I don't know what they're thinking about. Just because someone says, 'I like what you do' or something: They might like it today and tomorrow they might not. I've had that experience with record companies.
I mean, if you decided to go out today and get you an instrument and do whatever it is that you do, no one can tell you how you're going to do it but when you do it.
I remember once I read a book on mental illness and there was a nurse that had gotten sick. Do you know what she died from? From worrying about the mental patients not being able to get their food. She became a mental patient.
I'm having this conversation with you now. I'm talking, but I'm thinking, feeling, smelling, and moving. Yet I'm concentrating on what you're saying. So that means there's more things going on in the body than just the present thing that the person's got you doing.
If you decide you want to be treated good, and you treat someone else good, or you want to learn something, it's information. It's getting the right, good information.
It's just someone has labelled us as having a different label to do what you do. I find that labels are the worst thing in the world for artistic expression.
No one has to learn to spell to talk, right? You see a little kid holding a conversation with an adult. He probably doesn't know the words he's saying, but he knows where to fit them to make what he's thinking logical to what you're saying.
So, for instance, if you came to me, I'd ask, 'Do you want to write? Do you want to improvise? Why do you want to play this instrument? What do you want to do?'
That's what I was trying to say when we were talking about sound. I think that every person, whether they play music or don't play music, has a sound - their own sound, that thing that you're talking about.
That's why I haven't been so anxious. But now, lots of people write and say, 'I want to find out what you're doing.' So I know that this book will enlighten them.
To me, human existence exists on a multiple level, not just on a two-dimensional level, not just having to be identified with what you do and what you say.
Although I will miss serving you in the Senate, I look forward to spending more time with family, especially my sweet wife Elaine, whose unwavering love and support made all of this possible.
The Indians, they don't fully understand that a lot of the things that they currently take for granted on those lands, they won't be able to do if it's made clearly into a monument or a wilderness. Once you put a monument there, you do restrict a lot of things that could be done, and that includes use of the land... Just take my word for it.
For so many people, it's very hard to feel okay with success, because success is not cool. It supposedly tarnishes your thing; it ruins little pockets of scenes and the self-importance that comes from thinking you're the only people in your town that are doing something.
When you're working in service to a big project, there's always the question of, 'Is there total freedom to do what I think is right artistically, or is this a job?' It's okay for things to be a job. I'm perfectly comfortable working. I don't need to sit around and quench whatever personal artistic thirst I have at all times.
The subject is missing from 'Replica' - it's about malleability of materials, and working with metaphor, and sculpting in time. So that makes a collaboration with another person who pushes sound in a sculptural way appealing, because you're like, 'Let's see what dimensionality is introduced from this other perspective that I might not have.'
Yeah it would be really cool to disappear. Like Jack Nicholson in 'The Passenger.' Isn't that the final frontier? Being able to erase everything everyone knows about you and just be a stranger has become extremely seductive.
It's stupid and embarrassing that you can describe something to one person and not to another. Until I've solved that problem I'm not going to feel like I've achieved too much.
I had it calcified inside me that that was the ultimate state of composing. Being Brian Wilson. Being simultaneously a genius and sort of lost at sea - not really knowing what you're doing but reaching for the stars.
Film scores are complicated puzzles that you need to figure out and solve very quickly, or else you're basically fired. You're hired to enhance the film and you only have a couple tries to prove that you are capable of that task. I can keep trying to enhance my album ad infinitum.
I'm not much of a crier, actually. You know, I tend to cry and get sappy on planes.
When I make music I try to be as honest as I can to how I experience the world. Like how you arrange a piece of music formally. I tend to observe a lot of chaos or whatever, the fragmentation and melancholy. That's the filter I synthesize my world view with. If I didn't formally have that chaos and it was really linear, it would make my skin crawl.
You look at somebody like Thurston Moore. Is he a noise dude? A punky dude? Is he a free jazz dude? He's a stimulation chaser, and I relate to that.
I knew my whole life that I had to make ends meet or I would be ashamed of myself. I had a lot of pressure from my parents. So that's where my vision comes from. It's not to be a great artist, it's always to be like, 'Dad, look, I didn't let you down.'
Film work can be anything from just really hard and stressful and you're subjected to really weird deadlines to really draconian and weird and disconnected. You're working in service of the thing, and that can be really amazing for everyone involved, or be kind of just a waste of time.
Especially in repetitive music, to make a long piece of music you have to be extremely skilled in your sleight of hand. Just to make long form music it's very difficult and you really have to consider what you're putting someone through.
While I absolutely love a great drummer and get tunnel vision listening to drums at a show, a lot of the time I feel like drum machine-driven music tethers you to a genre.
I have to go through auditions, and my surname has got me into rooms, but I'll never know if it gets me any jobs. There's a lot of sexism and objectification, and a lot of people put you down.
Lean into your curiosity about any issue, and there will likely be people to share a little bit more of their knowledge and insight and give you ideas on how to make change.
The reality is that anti-black racism is a global phenomenon, and it looks different in each context, but if you look at the outcomes, if you listen and look at the experiences, you will see that it's clear, and it's happening across the globe.
If you asked me to sing a modern song, I wouldn't be able to - I can't easily slip into that groove. But if it were a song by Nico or The Velvet Underground, fine.
My golf swing is probably the most horrendous you've ever seen. I look like I'm trying to attack the ball.
You're sent scripts, and for some, as soon as you start reading them, you feel an instant connection to the character. You know who they are, you know how to play them, and there is instant enthusiasm. Then, at the audition, you don't have nerves because of that natural affinity.
The most romantic thing someone did was surprise me at the airport, after being away for 3 months in Los Angeles. You always see people with signs, and you're like, 'Isn't that lovely?' and then you see your own name on one - that isn't a taxi driver's! I was very impressed.
Everyone talks about the big three-oh with dread - but it's exciting. It feels like life is much more put together. Everyone's like, 'Wouldn't you like to be 20 again?' But no way.
I get scripts and think, 'There's not enough here to get my teeth stuck into.' That's a result of studying English, where you luxuriate in these big, lush novels.
Be thankful for what you have; you'll end up having more. If you concentrate on what you don't have, you will never, ever have enough.
Do the one thing you think you cannot do. Fail at it. Try again. Do better the second time. The only people who never tumble are those who never mount the high wire. This is your moment. Own it.
For everyone of us that succeeds, it's because there's somebody there to show you the way out.
The challenge of life, I have found, is to build a resume that doesn't simply tell a story about what you want to be, but it's a story about who you want to be.
Lots of people want to ride with you in the limo, but what you want is someone who will take the bus with you when the limo breaks down.
People thrive on genuine connections - not with machines, but with each other. You don't want a robot taking care of your baby; an ailing elder needs to be loved, to be listened to, fed, and sung to. This is one job category that people are - and will continue to be - best at.
Even seemingly innocuous housecleaning robots create maps of your home. That is information you want to make sure you control.
Netbot was the first comparison shopping company. We realized comparison shopping can be quite tedious if you are driving from one furniture store to another. On the Internet, you can automatically look at a bunch of different stores and see where can you get the best price on a computer or some such thing, so that was the motivation.
If you believe everything you read, you are probably quite worried about the prospect of a superintelligent, killer AI.
Machine learning is looking for patterns in data. If you start with racist data, you will end up with even more racist models. This is a real problem.
If you step back a little and say we want to do A.I., then you will realize that A.I. needs knowledge, reasoning, and explanation.
Understanding of natural language is what sometimes is called 'AI complete,' meaning if you can really do that, you can probably solve artificial intelligence.
I think it's important for us to have a rule that if a system is really an AI bot, it ought to be labeled as such. 'AI inside.' It shouldn't pretend to be a person. It's bad enough to have a person calling you and harassing you, or emailing you. What if they're bots? An army of bots constantly haranguing you - that's terrible.
AI works really well when you couple AI in a raisin bread model. AI is the raisins, but you wrap it in a good user interface and product design, and that's the bread. If you think about raisin bread, it's not raisin bread without the raisins. Right? Then it's just bread, but it's also not raisin bread without the bread. Then it's just raisins.
When you have a large amount of data that is labeled so a computer knows what it means, and you have a large amount of computing power, and you're trying to find patterns in that data, we've found that deep learning is unbeatable.
I'm not a big fan of self-driving cars where there's no steering wheel or brake pedal. Knowing what I know about computer vision and AI, I'd be pretty uncomfortable with that. But I am a fan of a combined system - one that can brake for you if you fall asleep at the wheel, for example.
When you think of driverless cars, there's a huge potential for these cars to save lives by preventing accidents and by reducing congestion on highways.
The thing I find really scary about ghosts and demons is that you don't really know what they are or where they are. They're not very well understood. You don't know what they want from you. So it's the kind of thing you don't even know how to defend yourself against. Anything that's unknown and mysterious is very scary.
Even when I was making the first 'Paranormal Activity,' I didn't tell anyone I was making it, not my friends or neighbors or co-workers. I just kind of found that there was nothing to gain by announcing to the world that you're doing something.
Our lives are pretty calm. Merging on the freeway in the closest you get to risking your life. So what's missing now is that primal emotion of being scared to death, and I think that's why people crave thrills like roller coasters or scary movies. They give you the chance to feel this very primal emotion in a very controlled environment.
Gory stuff can be shocking but it doesn't really scare me. I'd say the kind of stuff that gets under my skin is the unknown. You hear a knock behind a wall and you don't know what it is. Is there something there or not?
Even if you look at the 'Paranormal Activity' movies, at the end of the movie things get really crazy and nutty, but they all start in a very mundane situation that people can relate to, and that's also to some degree what we tried to do in 'Chernobyl Diaries.'
I think the tricky balance, the most important thing more than the horror is to have a compelling story, compelling drama, a show about great characters that you care about and you want to come back every week to see what they're up to.
Not knowing the thing that's chasing you is a lot scarier than seeing it right in front of you.
At first my publisher had reservations about publishing it in the form you are familiar with.
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