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I think what's important is to give space to the range of human experience.
I find Spike Jones' movies to be really very inventive and funny, but they're really sad and touching and really key into the different facets of the human experience.
And what's fascinating in The Ten Thousand Things is that although there's time, an inexorable time of the three generations of lives, actively present, but place is the time, time doesn't really have to do with simply the human experience of it.
Most of our history in space has been communicated in terms of action - what people do, a chronological list of events which have transpired - as opposed to the human experience of having done those things.
Acting is a very personal process. It has to do with expressing your own personality, and discovering the character you're playing through your own experience - so we're all different.
Even when one is doing well, one still worries that things might go badly again in the future. This is an old observation based on human experience.
One has a greater sense of degradation after an interview with a doctor than from any human experience.
Appetite as it relates to the human being, the person. How do you find appetite for what you do? How do you relate to appetite? How do you get appetite, not only for a meal but also to do the work you do?
Play is a uniquely adaptive act, not subordinate to some other adaptive act, but with a special function of its own in human experience.
