I've never done a movie that's shot more than 40 days because I just don't do those kinds of films.
I'm a collector, so I've got all kinds of sunglasses. I'd say I've got about a buck ten, buck twenty.
I like the boundaries, the kinds of conventions of a documentary and having to work within that.
I want to expand jazz; I don't want to keep the audience limited. I want to reach people who have never come to a jazz concert before. One way to do that is by making records that have a lot of different kinds of music on them.
After I hurt the knee, football wasn't nearly as much fun. I was limited. But you make do with what you have. I adjusted some. I was lucky to play as long as I did, with the different kinds of injuries I got. I played with two severed hamstring muscles in my leg late in my career. I could barely run, other than to drop back to pass.
I had - and continued to have - great fun exploring the Revelation Space universe, but it was always clear to me that I wanted to write other kinds of books, even within what might be termed the fairly narrow overlapping genre categories of hard SF and space opera.
One question that often comes up is why, in this age of blogs and tweets and instant digital communication of all kinds, it still takes so long to publish a book.
I get inspiration from all kinds of things: I can get it from hanging out with my son, from hanging out with my wife, from checking out different artists, from hearing something at a party.
I've been fortunate. I've worked in a lot of things where I had those kinds of experiences with actors who were perceived as very macho guys, everybody from Lee Marvin to Charlie Bronson to Harrison Ford to Robert Shaw.
I like festivals of all kinds: in 1969, I made a film about the first Pan-African festival in Algiers, which celebrated the countries that had been liberated 10 years earlier. There was a tremendous feeling of kinship.
I love horror. I love 'The Shining,' 'Friday the 13th,' 'Halloween,' all those kinds of things. I love zombies, especially '28 Days Later' and '28 Weeks Later,' where the zombies are going faster than the George Romero ones. I love being scared; there's something that's awesome about your heart rate going up like that.
There are two kinds of comics; there are the ones who build bridges, and then there are the people who walk across the bridges as though they built them. The bridge builders are few and far between.
I never really thought of my neighborhood in South Philly as being a neighborhood; it was more a state of mind. For people who aren't familiar with those kinds of places, it's a whole different thing. Like, 42nd Street in New York City is a state of mind.
Nearly all of the major kinds of life, divisions of life, phyla of animals, occur in the sea. Only about half of them can make it to land or freshwater.
It's sad - it's sad for us old enough to remember when directors ruled, and films were substantially better than they are today. But it's hard to argue with those kinds of grosses.
When I create a TV show, it's so that I can write it. I'm not an empire builder; my writing staff is usually a combination of two kinds of people - experts in the world the show is set in, and young writers who will not be unhappy if they're not writing scripts.
I was a very shy character, always feeling uncomfortable because everybody was stronger than I, and always afraid I would look like a sissy. Everybody else played baseball; everybody else did all kinds of athletic things.
What I think is wonderful is that women are not just avengers or victims in films. They are people. They are characters. It's so refreshing. They're playing different kinds of characters, and they aren't being typecast.
I want to explore the world properly, to be able to write about and take pictures of all kinds of different cultures. Just be an explorer or adventurer. I also love extreme sports.
I do think that narrative is very important - I think that we use narrative to organize the world around us, and so it does matter a lot what kinds of narratives we have in our inventories and which ones are reinforced so often and so strongly that we habitually reach for them without thinking.
When I was a young teenager, it was all about The Clash for me and that sort of English punk stuff. Then the Clash led me to all these other kinds of music: classic rock, Stevie Wonder, world music, and Brazilian music. I got serious about jazz when I was probably about 14 or 15.
I don't think that there's much that sets me apart from other musicians, but I think there are definitely things that set me apart from other kinds of artists. I feel that musicians do it their own way, write their own songs and put on a great live shows.
I'm not the best person to analyze any kind of evolution in my work, but I do feel like it's been an ongoing struggle to basically teach myself how to tell the kinds of stories that interest me in comics form.
It's just like heirloom tomatoes; this is heirloom music. We used to have all kinds of diversity in our poultry, in our vegetables, in our fruits, and slowly but surely the monoculture beast comes in. I'm saying that's not a good idea. And if it means that I gotta do it on my own, then I do it on my own.
As a designer, you have to solve a lot of problems. Even though people are wearing clothes that are supposed to look beautiful, they'll have to do all kinds of things.
There are two kinds of people... There are the dreamers who go and buy, and there are the doers who go and make. And I've always recognized that. So the dreamers are what support our company because they will buy the product that they could make if they wanted to, had time to, or were so inclined to.
I'm still very much a believer in the spontaneity of certain kinds of writing. But then you have to eventually, when you're writing a long play, make adjustments along the way - all kinds of adjustments.
There are millions and billions of atoms of memory of all kinds of musical themes in me.
Seems like everybody has seen 'Cooley High.' That's what put me on the map. Garrett Morris and I go way back, even before the movie. Great guy. We've done theater and stage plays together, Lincoln Center and all kinds of things.
There are all kinds of people who continue to be largely ignored by advertisers, whose lives largely go unseen. They deserve their moment.
Whereas in the past optimism had been regarded as rather shallow - because 'oh well, it's just your temperament, you happen to be just a cheerful sort of person' - what I wanted to do was to establish that in fact it is the pessimists who are allowing all kinds of errors to creep into their work.
There are all kinds of things you can do to marry literacy with health.
You learn to read the audiences after a while, and there are all different kinds of gigs.
Artists forget than the first purpose of a comic character is to convey emotion. Everything else, like realism, or other kinds of virtuosity, is an optional extra. If you sacrifice expression for the sake of other concerns, you're putting the cart before the horse.
We have a responsibility to show the public the kinds of truths that they don't see on the TV news or the Hollywood film.
I think female-centric films shouldn't be only about thriller or horror. Angelina Jolie has been doing all kinds of stuff.
