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Nobody heard him, the dead man, But still he lay moaning. I was much further out than you thought, and not waving but drowning. I was much too far out all my life, And not waving but drowning.
I can't say that I'm always writing in my head but I do spend a lot of time in my head writing or coming up with ideas. And what I do usually is write the music and melody and then, you know, maybe the basic idea. But when I feel that I don't have a song or just say, God, please give me another song. And I just am quiet and it happens.
You know, I always when people ask me, like, what is my most favorite song, I quote Duke Ellington, when they would ask him, what's his favorite composition? And I say, I haven't written it yet. Because, you know, there are different songs for different occasions.
This is like one thing that I've tried to do, and I think successfully, that when you realize that nothing really belongs to you, you begin to appreciate having an understanding of just where your head is at, and you feel so much better.
I love finding out why people don't love things. And if you ask people why they don't like things, particularly when they get into this sort of culture box, you find out that they're not liking things because of what people are going to think about them, and not because of what the things actually sound like.
Once a new technology rolls over you, if you're not part of the steamroller, you're part of the road.
When a fantasy turns you on, you're obligated to God and nature to start doing it - right away.
One of the biggest lessons I've learned is that there has got to be a reason for what you're doing. You actually have to care about what you're doing. The business has to be about something. Whatever the point of it is does not have to be inconsistent with making money, but usually if that's the sole reason, it is not very successful.
Inside a company, you can mandate that everyone use the same technology, which means you can go a little bit, I don't know, higher fidelity than the lowest common denominator technology.
There are a lot of things that Slack gives you that email doesn't when you think about internal use. Switching to Slack from email for internal communication gives you a lot more transparency.
There's a kind of dream that movies sell to people: You can start as the lowliest person and rise to the top. 'Hit Me' doesn't sell this fantasy.
Basically, independent film doesn't exist anymore. It does if you have two or three stars in your film, but it's just very difficult.
I like a good cliche because it reminds you that much of management practice boils down to things you need to do but often forget or fail to do often enough.
I guess why the Ocean's films are hard for me is because on the one hand you have to make sure the performances are there, but on the other hand it's a film that demands, to my mind, a very layered and complex visual scheme. That takes a lot of time to figure out.
I know why we can't have a frank discussion with our policymakers - if you're in the government or in law enforcement you cannot acknowledge that drugs are anything but inherently evil and morally wrong.
I'm in the process of working out an arrangement to make some very, very, very small films in the midst of all these films and maybe that will help. But you get tired of talking. You just want to do it.
The great thing about the business is how Darwinian it is. We have to swim or die - if you are found wanting over a period of time, you've either got to change what you're doing or find something else to do.
The key is, if you're not monkeying around with the script, then everything usually goes pretty well.
The ought to be a worldwide cultural taskforce that just stops you when you have ideas like combining The Red Desert with an armored car heist movie.
To me the director's job is to leave it in better shape than you found it, literally.
Well, it's 15 years since Sex, Lies And Videotape, and if you hang around long enough you're having the same arguments with just a new set of people every few years and it gets boring.
When you're sent something and read it, either you can see it while you read it, or you can't.
I'm sure some people will say, 'Why do this?' And my response is, 'Why wouldn't you?' The film business in general is using a model that is outdated and, worse than that, inefficient.
If you can find interesting ways to be clear, you're really onto something.
One of the reasons why I think virtual reality, as a narrative format, is never going to go beyond the short-form immersion space is because the bedrock of visual storytelling is the reverse angle. If you can't look into the eyes of the protagonist, you cannot hold people's attention for more than 15 minutes.
You know, I don't really do that much looking inside me when I'm working on a project. Whatever I am becomes what that film is. But I change; you change.
You have many years ahead of you to create the dreams that we can't even imagine dreaming. You have done more for the collective unconscious of this planet than you will ever know.
I don't drink coffee. I've never had a cup of coffee in my entire life. That's something you probably don't know about me. I've hated the taste since I was a kid.
The thing that sets Mars apart is that it is the one planet that is enough like Earth that you can imagine life possibly once having taken hold there.
These rovers are living on borrowed time. We're so past warranty on them. You try to push them hard every day because we're living day to day.
You create a pile of dirt and then drive over it. We may have to learn to drive all over again.
I love how you can shoot a movie in a month or two or three of four, and it's this encapsulated story that you box up and ship out into the world, and what it is, is what it is.
One of the pleasures of looking at the world through mathematical eyes is that you can see certain patterns that would otherwise be hidden.
You can get a certain amount of pleasure as a mathematical spectator, reading and watching some of the most beautiful arguments that have been created in the history of humanity. But that's too passive.
When you love a problem, its contours, obstacles and resistances are all just part of its character.
When you create something new, you're breaking tradition - which is an act of defiance.
It's not possible to build a piece that stands successfully without talking about its shape. But if you talk too much, you lead people away from the music itself.
I find composition difficult. I never thought of myself as someone who can crank it out. I can't crank it out - I have to dig it out the hard way. In some sense, you become more confident in your technical apparatus, but it becomes harder to do something you haven't done already.
As you know, I'm androgynous. I can wear a jacket that most guys wouldn't put on. But you make it in guys' sizes, and suddenly they're wearing them. I think styles should get back to getting people to wear things that look so good that they don't care.
Back then it was nothing like today. So you'd go to the bowling alley. We bowled and you could be in the back and you could make out, you know? And you know how hot it was to make out.
But you've reached them, and I've always wanted to reach people. I'm the first one to say I love my fans because they love that I took a chance.
Drugs will get you out of your own way, but we lived it, and that's dangerous. It can actually turn around on itself and steal your soul, and that's what happened.
I was obsessed with politics in the '80s. I've recovered and I'm feeling much better now, thank you.
The simple fact is we do not live in a democracy. Certainly not the kind our Founding Fathers intended. We live in a corporate dictatorship represented by, and beholden to, no single human being you can reason with or hold responsible for anything.
You think your congressman is working all day to get you a job? He may want to. He or she is probably not a bad person. They probably want to do the right thing. But they can't.
I'm a real band guy, you know? I'm really good at certain things, and the band stuff is one of them.
The first rule of rock and roll is it's all about live. Then you have to learn a second craft, which is making records. It should go in that order.
The energy that comes when you compel people to dance stays with you your whole career - whether you are playing to 100,000 people at Glastonbury or 1,000 kids in a club.
Half of the modern world goes back as far as Pearl Jam. The real historians go back to U2. But they need to go back further. They have to go back to the '50s and '60s, where things started. That's how you get to be your own personality, by studying the masters. Rock and roll was white kids trying to make black music and failing, gloriously!
A lot of the idealism of the Sixties was spot on, from the environmentalism to the war to the Civil Rights movement, the women's rights movement, you name it.
Reach for greatness, nothing less. And make sure you have some fun along the way.
I'm always surprised when a sequel is not as good or better than the first one. I never understand that. You've already set your own bar. You've already done the hard work. It should be easier to make the second one, but a lot of the times, it's not.
For me, making a record is a vacation. I'd like to do it more often. Just, chances are impossible... It's a very expensive hobby, you know?
My experience tells me that any time you hear people laughing on a sitcom, it's the writers who happen to be closest to the microphones - not the audience.
No matter what your political persuasion, you can find a guide that makes it quick, easy and painless to exercise your right to vote. Wanna know what a certain proposition put forth by a cadre of undisclosed billionaires which cuts funding for public education, arts and infrastructure means? Use the voting guide!
If you have to lie, cheat, steal, obstruct and bully to get your point across, it must not be a point capable of surviving on its own merits.
Symmetry principles are principles governing the laws of nature that say those laws look the same if you change your point of view in certain ways.
When you do calculations using quantum mechanics, even when you are calculating something perfectly sensible like the energy of an atomic state, you get an answer that is infinite. This means you are wrong - but how do you deal with that? Is there something wrong with the theory, or something wrong with the way you are doing the calculation?
I'm afraid that it's not possible to design a defense against every conceivable threat that you can think of.
In my experience, many Americans think of religion as important and want to do whatever they can to support it. But if you ask them what they themselves believe, you'll find they're very uncertain about their religious beliefs. They don't actually accept the theology of their official church.
Certainly good causes have sometimes been mobilized under the banner of religion, but you find the opposite, I think, more often the case.
Even if there is a God, how do you know that his moral judgments are the correct ones? Seems to me Abraham should have said, 'God, that's just not right.'
Whatever faith you have you ought to be willing to confront it with the discoveries of science. There's something ignoble about not being willing to look at what we've found about the way the world is and trying to reconcile it with whatever you've decided to believe in for yourself.
I'm a filmmaker, so I always think: When is the breaking point? Sometimes you've got to go beyond the breaking point, and then you catch it. When is long enough? It's one of those things you have to look at, walk away, and go home and find out what it is.
I'm the kind of person who likes to create the environment and mindset - not because I do it deliberately, but because that's how I like to live - where, from catering to makeup to hair to wardrobe, electricians, camera department lighting, sound, you know, it's our movie; we're together, and we have that camaraderie and that closeness.
Audiences make their minds up about people they see on screen, just like they do in real life. That's what fascinates me in film. You see a character and have to think: is this person different to what I assumed he was when I first saw him?
All writing is an act of self-exploration. Even a grocery list says something about you; how much more does a novel say?
It doesn't work if the bad guys kill his mother's uncle's friend's neighbor's pet dog. You've got to make the stakes high.
You can say that I lived in Asia for a long time and in Japan I became close to several CIA agents. And you could say that I became an adviser to several CIA agents in the field and, through my friends in the CIA, met many powerful people and did special works and special favors.
I want to be able to work on a project that will give people around the world the chance to represent their own people, their own culture, their own stories, rather than just Hollywood - really, you know, dominated Hollywood. And that's a dream of mine.
For me, in Buddhism there is a plethora of specific teachings that one can seek out and find for the individual dilemmas you may have.
You do 1,000 interviews, 20 percent of every one is not what you said, or is twisted a little. If you multiply 20 by 1,000 you've got a lot of inaccuracies out there.
If you read a story with an 'I' or a 'he' or a 'she,' you're in familiar territory - but 'we' is mostly unexplored. I think of 'we' as an adventure.
If you fear phantoms, you're like a child frightened of seeing things in the dark.
When you're surrounded by friends and exes, there's a whole lot of stuff that starts crawling out. But however serious and traumatic those experiences may be to the participant, to the onlooker they're hilarious.
My problem is that the audience is more fiction-literate than ever. In Shakespeare's day, you probably expected to see a play once or twice in your life; today you experience four or five different kinds of fiction every day. So staying ahead of the audience is impossible.
Writing for adults often means just increasing the swearing - but find an alternative to swearing and you've probably got a better line.
The difference between a beautifully made failure and a beautifully made hit is who you've got playing the leads.
The trouble with a series as it gets older is it can feel like a tradition, and tradition is the enemy of suspense, and it's the enemy of comedy. It's the enemy of everything, really. So you have to shake it up.
If you don't expect to like someone and then you do, that's an incredibly exciting moment.
I know this is going to sound very self-serving, and I apologize for it, but if you can write comedy, you can pretty much write anything, because it's the hardest. It's the most technically demanding, the most precisely evaluated form of writing. People know if it works or not. There's a big button marked 'fail,' and that's when nobody laughs.
Nothing can ever be a rule in drama, because then you're saying certain things won't ever happen, and that would be very boring.
The way you get your script to the right people is that you put it in an envelope. It's easy. The difficult bit is writing something that is so good people will take a punt on a brand new writer.
When writing comedy, you have to have the confidence to believe that there is only one type of relationship in the world, and we are all having it, that all men behave in the same way and so do all women.
If you take most men aside when their wives are pregnant, most men are pretty frightened and worried and faintly disgusted by the whole experience.
Artists, writers and people in creative fields are entrepreneurs by necessity. Nobody gives them a paycheck or picks up their medical insurance. The ones who succeed learn to think and act like 'independent operators.' I think people who are technically 'employees' have to think this way as well. The company is not looking out for you.
If you want to send a manuscript, send it to an agent. And send a letter first, asking permission. Launch it into the real world of cold-blooded commercial response, not into the fantasyland of wishful thinking, cowardice and surrender to Resistance.
Fear is one of those really primal emotions which you don't want to have incredibly exciting modulations and complex harmonies and all that kind of stuff.
With a lot of action scores, you're competing with a lot of noise. Say there's a big explosion: the music would conventionally have a lot of Hollywood-style percussion or brass, because that's the only thing that will cut through.
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