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People can believe pretty much whatever they want to believe about moral and political issues, as long as some other people near them believe it, so you have to focus on indirect methods to change what people want to believe.
Even if you have a brain predisposed to liberalism, you might end up with some conservative friends or find inspiring conservative role models who could be very influential on you, and that could send you down a different track in life.
If you have a personality predisposed to liberalism, you might gravitate more to the artsy crowd or the anti-establishment crowd. And then those peers will affect you, and they will give you values, and you will copy them.
If you have high IQ, you're really good at finding post-hoc arguments to support your feelings of truthiness.
As far as personal philosophies go, I think you should know your ending. I know that's radically different from a lot of other writers who just organically like to find the story. Other than that, I try different things and mess around. I'm still just playing a good bit.
I've always been a sci-fi/fantasy guy. My book reports in school, whenever you didn't have to do it on Shakespeare, I did it on, like, Piers Anthony and Raymond Feist.
My father was a very good craftsman. He made furniture, he made silverware and he had an incredible gift in terms of how you can make something yourself.
When you're trying to solve a problem on a new product type, you become completely focused on problems that seem a number of steps removed from the main product. That problem solving can appear a little abstract, and it is easy to lose sight of the product.
It's difficult to do something radically new, unless you are at the heart of a company.
When you do everything to make the very best product, it also means you're very focused on just a few products.
As I get older, I plan less, and I strategize less about my career and about things because you realize things happen as they're supposed to happen and the way they're supposed to happen.
When it comes to chemistry with actors, I always feel chemistry is not something that comes and goes. You either have it or you don't.
I always loved acting, but when you get older and you're going through adolescence, the roles are limited.
We tend to read each other's books in sizeable chunks as they are written. I don't know that you could say we are ruthless with each other - in fact, I suppose we are very kind. There are ways to make suggestions which are not destructive.
As an actor, you get to sort of bounce back and forth in terms of the age range you play and the life experience that your characters have.
The good thing about TV is that you can still watch the product, even if you're not in charge of it anymore.
The people you're friends with on Facebook or the people you follow on Twitter are trusted sources of information.
The fans have been really incredible everywhere we've been. You want to make sure you put on the best concert of your life to show them how appreciative you are.
You laugh at me because I'm different, I laugh at you because you're all the same.
The first draft of everything, I write longhand. One of the nice things about that is that it makes you keep going. If you write a bad sentence on the computer, then it's very tempting to go back and fidget with it and spend another 20 minutes trying to make it into a good sentence.
It's not really an original idea, but there's something that goes along with power and celebrity that starts to make you feel like you're impervious to certain forces that the rest of us have to live with.
I think that good storytelling of any kind does promote a humility in that it encourages you to see the world the way that other people see it.
What could be more boring than a novel that tells you how to think about everything that happens in it?
You never want to be in a position where your reader feels like you're passing judgment on your own characters. Any novel where you feel like the author is talking to the reader over the characters' heads is in a bad place.
It's nice to have something else going on when a book comes out so you're not just sitting by the phone, waiting for things to happen. You don't want to be the guy Googling himself all day.
If you look at the practice of 'crisis management,' and maybe squint at it a little, you can make out in the corners of your vision the ghosts or the vestiges of a much older, but still thoroughly American, form of public life, one centered not on public opinion but on religion.
I also feel that the only thing more gratifying than working with someone who you've worked well with is working with someone new and coming up with something great.
I had very strong feelings, so the chance to make a film that deals in an imaginative way with stuff you care tremendously about is a real high. It's a really amazing thing to be able to do.
I felt from time to time that shooting live music is the most purely cinematic thing you can do. Ideally, the cinema is becoming one with the music. There is little artifice involved. There's no acting. I love it.
I love the idea of documentaries. I love seeing documentaries, and I love making them. Documentaries are incredibly easy to shoot. The ease with which you can hear something's going on, somebody's going to be somewhere: That sounds so interesting. Pick up your camera and go.
It's such a rich experience when you enter into a subject from a documentary point of view. It's hard for fiction to compete with that.
Documentaries - my God, there is so much going on in our country and in the world today that every time you open the newspaper or turn on the radio or watch the news on TV there is another documentary subject. We're getting the headlines for a second, shaped by corporate delivery most of the time, but what's really the story there?
I'm of Neil Young's generation. Neil Young's songs have spoken to what it's like to be at least a white male of his generation over the years. Endlessly, he's sung about the stuff that I really care about. He's put into words the feelings that hit you at different transitional moments in life.
A trilogy is a pretty abstract notion. You can apply it to almost any three things.
When you're filming, if you can't capture the relationships and interplay, that magical thing that transpires between musicians during a performance, then you're not going to have a deeply interesting film. It's vital.
I'll tell you - what I can tell you is that I know when I saw 'Zodiac' and then again when I saw 'No Country For Old Men,' there was a moment in each of my viewing experiences where I went, 'Dammit, this is scarier than 'Silence Of The Lambs.''
I often find myself feeling that filming music is somehow the purest form of filmmaking. This crazed collision of sound and images, the intense collaboration, these incredibly cinematic performances. And for the nights you're filming, a non-player like me gets to feel somehow part of the band.
You have to be damn certain you're putting something better in its place.
Not every programme dealing with issues of global significance has to be fronted by last week's winner of Have I Got News For You-but I suppose you might be wrong.
I fail to understand how you can justify a poll tax on the entire population, yet exclude a significant proportion of that population from programmes that this tax is paying for.
The challenge is the culture. You have to have a vision for the BBC-it can't merely be that it's big and has a place in the market.
I have to grit my teeth sometimes, knowing I am going to be written about. But I think it is my life, and I don't want to get people interested in debating it. But I do feel that if you are going to put yourself about as a public person on a television screen, there's a curiosity.
I have a great deal of joy in my life, and I'm very fortunate. That combination makes you aware of just how wonderful life can be on the one hand and how dreadful it can be for people on the other. You can't be happy in isolation.
After 20 years of writing in basically a vacuum, I love being part of a community. I've vetted other writers' contracts for them and do publicity for free just because I like a book. Some people think of it as hubris or careerism, but I love to champion books. You can't use your whole sphere of influence just to help yourself.
I just need to believe that we're not in some form of stasis, that we can try to be whoever we want to be. We probably won't get there, but we might get a little bit closer, you know?
When I started caregiving, I was not on very firm ground. My first marriage had dissolved. I was working at an ice-cream stand in my thirties. I learned that when you don't have anything to give, that's when you really give, and then you get back so much more.
You have to find hope. Hope is such a shape shifter. You tend to look in the rearview mirror for hope, but when it's gone, you have to look forward. You have to get in the van and keep driving on.
No, the type-casting didn't happen until after Star Trek. I don't think that you get typecast until you've been cast!
The real pleasure in writing this, for me, was discovering how little you need.
It's not surprising to see in my own work, looking back, and in the work of some of my peers, an attention to family. It's nice to write a book that does tend toward significance and meaning, and where else are you sure of finding it?
It seems to me self-evident that if you have a life, things happen in it, and certain things do change; certain things end. People you know die.
If you're interested in how people behave, if you're interested in the way they talk about themselves, the way the conceive of themselves, it's very hard to ignore drugs nowadays, because that is so much part of the conversation.
You have to realize that when I started to work on 'Aladdin', Disney Theatrical wasn't in existence. I suppose I had always hoped that 'Aladdin' would be somewhere on the runway.
If you look at the Disney Villains, I think you'll find that they do have mass appeal in some way, and it usually has to do with a voice quality that also matches very well with the animation.
All fame ever does for you is get attention for the work you really want to do.
If you have millions of dollars you are not going to get to continue doing what you want. You are into a world of commitment to that money and all the people that helped you get that money.
If you've worked in a company for a long time, there's a mythology that you know by heart, you don't need to look it up to evoke. It's there in your blood, as it were.
The only thing you can really say in a poem is what you really, really deeply believe.
Poetry is really about your mental state or intellectual, and where you are, and you're trying to evoke that, explain it to yourself, whatever, you're trying to dig into it, analyse yourself.
Poems are endlessly renewable resources. Whatever you bring to them, at whatever stage of life, gets mirrored back, refracted, reread in new ways.
Giving oneself permission to write to begin with is the first enormous challenge. But you discover that this permission involves a requirement: To write about things that are difficult because they are, in fact, your subject.
I love poetry; it's my primary literary interest, and I suppose the kind of reading you do when you are reading poems - close reading - can carry over into how you read other things.
It is important to know that what I do is not artistic. I am just a film-maker. I live how I live and I do what I do, which is recording moments of my life as I move ahead. And I do it because I am compelled to. Necessity, not artistry, is the true line you can follow in my life and work.
In a meadow full of flowers, you cannot walk through and breathe those smells and see all those colors and remain angry. We have to support the beauty, the poetry, of life.
To me, cinema is cinema. Cinema is one big tree with many branches. The same as literature. In literature, you don't just say, 'Oh, I bought some literature.' No, you say, 'I bought a novel' by so-and-so, or a book of essays by so-and-so.
I'm a filmmaker, but my working procedures are different. All my basic structuring is done during the filming. You know, how long I keep the shot, the exposure or the speed - slower or faster, etc. That's structuring. And then there is a second stage of structuring that comes later when I begin to put those pieces together.
Once you change the technology - from a film camera to a video camera, or from an 8-mm camera to 16 mm - you change completely the content. With 8 mm, a leaf on a tree will be made up of maybe four grains. So it's very impressionistic, almost like Seurat. If you switch to 16 mm, the technology gives you hundreds of grains on that leaf.
Some cameras are heavier and need to be on tripods. Others are small enough to hide in your pocket. There are places where you don't want to feel like you are disturbing anything, so I may use a camera like that.
The nature of the video camera really makes you focus on the present. Since I have always been a diarist filmmaker, not one who stages scenes with actors, it has always been about the present moment.
Opening the batting in Test cricket, facing up to fast bowlers looking to do their worst with a new, hard ball is incredibly tough. You have to be brave, single-minded and prepared to work very, very hard.
The old player in me can certainly sympathise with how your targets change because you simply do not know what is around the corner.
Preparation is not just about batting and bowling. You have to consider lots of things - the travel, the weather, the heat, the light, the sounds. You have to be comfortable with everything.
When you think of the great eight-wicket bowling figures in Test history, the names of Michael Holding, Shane Warne and Stuart Broad spring to mind.
This is Test cricket. Being positive is not far away from being reckless. For all that the sport has become more fast-flowing and entertaining, you still need batsmen whose first instinct is to be patient.
As a player, when things are going against you, you look to the captain to inject some energy but I don't see any of that from Amla.
By empowering players - not just players, but grown men - to think for themselves outside of the game, you hope that they will be more likely to adapt to a situation and seize the moment in a sporting contest.
You do not want cricketers who are cowed by adversity, waiting for someone to tell them what to do.
As lots of us ex-pros know, you are a long time retired and there comes a stage when you would give anything to be back out there playing.
It is one thing to err on the side of caution. Equally, Test wins have to be earned. They are seldom handed to you on a plate.
Having a show get canceled is like, 'Oh, you have caviar between your teeth,' you know what I mean? Because you had a show in the first place.
I've always been inspired by Don Quixote as a role model of sorts, of the power of books to sort of make you insane in maybe a beautiful way.
A lot of writing is a form of seeing - putting down what you see in terms of action and landscape.
Now, all writing - all the arts - are a form of 'Pay attention to me,' but there's also the flip side. Like, I want to give something. Let me entertain you, let me amuse you, let me try to please you with this thing I've made. And then pay attention to me.
Twitter is so severe, you know? And it's completely for free, it's scattershot, and it's very easy to feel embarrassed. It's hard to be artful with it. It's like a ticker tape. It's not a forum that's worth mastering, you know?
Something has happened where you almost never grow up in America. Maybe it's the greater wealth.
I have no trouble walking around. But every once in a while, somebody will come, during the course of the day, and say, 'Oh, I recognize you from such-and-such,' and yeah, they'll make a connection. I think for the most part, people don't go, 'Where do I know him from? Does he work at the bank?'
Forty-five years since I made my first paycheck, and I'm telling you that 'Breaking Bad' is as good as it gets.
When I walk onto a set, no matter what it is, I always do the very best work that I can. But I'm not braindead, and I want to do things that I want to do, you know?
If you had told me in the Seventies and Eighties that TV would be as edgy or edgier than most films, and more intelligently written than most films, I wouldn't have believed it. There's great stuff out there.
I love Russell Crowe's line to Oliver Reed in 'Gladiator' where he asks him, 'Are you in danger of becoming a good man?' It's one of my favorite lines ever.
If you had ever told me that the finest film work was going to be done on television, I wouldn't have believed it.
Guys aren't threatening. Other girls are the competition. You are usually what they're fighting over.
Guys just don't care. We don't take the time to plan behind each other's back. We just say, If you don't like me, screw you'. If a guy doesn't like you, you know because you have a black eye.
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