The sky always seems to be out there, away from us. I like to bring it down in close contact with us, so you feel you are in it. We feel we are at the bottom of this ocean of air; we are actually on a planet.
As much as I love the Western genre, I figured if I kept doing those, I'd eventually run out of steam on that, and that would've been the end of it.
The United States was the first country in the history of the world to be consciously created out of an idea - and the idea was liberty.
I would be sad if it ended now. It's been the best job I've had by a long shot, especially creatively because the writing is so good. Every week I get the script and I laugh out loud and get excited for the different stuff we get to do.
The country is more of a wilderness, more of a wild solitude, in the winter than in the summer. The wild comes out. The urban, the cultivated, is hidden or negatived.
When I'm gigging, there's an uneasy shift when I pull a puppet out. People look at me aghast and I feel I have about 20 seconds to win them over. You even get the prejudice among other people in your own profession.
I found out there is a production paradise in Brazil. I was able to make my second collection for less money but without sacrificing quality. More importantly, manufacturing in Brazil also fits in with my global initiative: to provide work and empowerment in a third-world country.
Much of my playing is rhythmic and choppy; I use a lot of double stops. The wah just accents all those stops and chops and brings out the rhythmic aspect that much more.
I don't want to miss out on the good stuff. As long as the character is good and the show is good, the medium does not matter to me. There are a few makers that I have an enormous trust in and that I know will do an amazing job.
I think it's criminal how little people in the military are paid. These are people out risking their lives, taken away from their families for long periods of time. I think they should be paid dramatically more than they're paid.
I used to write out of angst. My writing was quite miserable, quite angry, even when it was funny. It was based on this sadness and tired emotional disdain for the world.
The paradox of being in an industry where other people are usually the gatekeepers: publishers, editors - there are a lot of barriers to having control over your career. But coming out of hip-hop, the mindset was always to create your own.
My dad was quiet, angry, shut down. So my thing is: I express everything that's there. I want to get it all out.
Thousands of people come to LA every year, and some of them just disappear. Somebody gets them. In the States around 100,000 people vanish each year. I don't know what that means. Maybe there's something that just pulls 'em out.
I'd always liked to read, but when I picked up books I wasn't getting the same kind of excitement from them that I was from going out clubbing. I wanted to get the same kind of feel.
As a child, I was very active. I was a gymnast, I played touch football, netball and basketball. When I was 16 years old, I started yoga. I started working out at an early age.
I like to surprise myself. I've always been attracted to projects where I don't know how they're going to turn out.
Low interest rates wipe out savers and devastate middle-class workers. The banksters have orchestrated this wealth transference of trillions, from the poor to the very wealthy. At the expense of everybody who isn't at the top.
When I was fresh out of law school, I had a burning desire to do something important, to have an impact in some way, but I didn't know what it was.
My distinguishing feature is the gap between my teeth. I had to wear a brace because my teeth used to stick out like guns from a fortress.
To avoid congestion, I get up at 5:10, grab a slice of raisin toast, and leave the house at 6 A.M. My husband, Tim Dunn, who works for an environmental agency, is still asleep when I slip out, and I find that rather annoying.
Maybe I would have become an actor. I was a very outgoing kid, but being in the hospital - being outside of social action for so long - turned me into an observer. Actually, right after I got out of the hospital, I did start writing a novel, but the book was so transparently about me that I stopped.
In tech-land, no one cares what kind of car you drive, and frankly, they're not going to find out anyway. You're not going to go to lunch together, because you're going to be sitting in your cube with a brown bag eating lunch.
A lot of young players don't really know much about the history of the game and a lot of them are missing out on what the game is all about, especially the whole concept of sportsmanship and teamwork.
English dialogues are always just what you need and nothing more - like something out of Hemingway. In Italian and in French, dialogues are always theatrical, literary. You can do more with it.
I feel a real need to observe a level of propriety in what I'm handing out. Instead of me just venting or spilling my guts, I've got to consider how it's going to affect people. How it's going to affect me, as well. Because it's like a cycle.
When I was first approached about doing an autobiography, I said, 'absolutely not.' But when I sat down, memories came pouring out. It wrote very quickly - I think there was an emotional impulse, because once I started in, the story itself carried me along. It was a very intense writing period and took a year and change to finish.
I've got a theory that if you give 100% all of the time, somehow things will work out in the end.
Any character can find an audience and work if you have passion for that character. You might have to just scrape off the dirt and the barnacles and pull it out and highlight it.
Generally, our approach with products at Google is to first develop the right user base and then to figure out what's the right experience for the ads.
'Johnny' was a coping mechanism who could take those things which could have ordinarily destroyed me, by tweaking my past and throwing it back out there, getting laughs from things that would have otherwise upset me.
Certainly, Continental has taken advantage of pipe and sponsored pipeline projects where we could. As a historic shipper, we have put a lot of oil on pipe. We have over half of our oil on pipe coming out of the Bakken. We feel good about that.
In the dream life, you don't deliberately set out to dream about a house night after night; the dream itself insists you look at whatever is trying to come into visibility.
It's a terrible way to live, to be closeted, to always be worried about being found out. To live this double life is really trying.
Insurance firms have always carefully studied real-world data to figure out what, precisely, constitutes a risky activity.
Working with kids in Soweto in South Africa, it's rough out there. But the bottom line is you've got to go to know. In Cambodia, there are 10,000 landmines. Same in Afghanistan, same in Colombia. I'm totally addicted to traveling.
