After Hiroshima was bombed, I saw a photograph of the side of a house with the shadows of the people who had lived there burned into the wall from the intensity of the bomb. The people were gone, but their shadows remained.
I went to a fashion show, and this silver-haired guy was staring at me with these piercing water-blue eyes. It scared me because I absolutely saw and knew my entire future.
I saw a complete lack of courage in Washington to tackle some of our biggest challenges.
I remember, when I saw the first 'Austin Powers' movie, I was blown away by how fun and original it was.
I know when the Berlin wall went down and I walked into what was East Berlin and saw two big Nike banners - that gave me a chill.
One of the first times that I went into a book store and saw a bunch of my books, my impulse was to put them all under my coat and run away so that no one else could see them, even though, of course, I wanted everyone to see them.
When I started at the 'Guardian,' though, I couldn't think of anything we saw eye to eye on, except feminism, and even this would soon be arguable as 'Guardian' writers queued up to drool over Eminem.
In our case, one of my earliest experiences working in the company was being asked to be on Ted Turner's board, and I saw that the value creation from owning networks was stunning - new channels, international opportunities, synergy, many things that Turner Broadcasting built for decades.
People really saw themselves in a big way in Elian Gonzalez's story.
When I was thinking of video ideas for this song, I wanted it to reflect the energy of the music and express the big eye roll that 'Sit Here and Cry' is. I had a very specific visual vision for it, and when I saw Sam Siske's reel, I knew he was going to get it.
O'Malley wanted to move the Dodgers out of Brooklyn because he saw the promised land. He was right about that, but to this day I think he was wrong to take the Dodgers out of Brooklyn.
Real estate is the key cost of physical retailers. That's why there's the old saw: location, location, location.
I didn't mean to spend my life writing American history, which should have been taught in the schools, but I saw no alternative but to taking it on myself. I could think of a lot of cheerier things I'd rather be doing than analyzing George Washington and Aaron Burr. But it came to pass, that was my job, so I did it.
I really believe that 'Saw' makes us stop and think and question our motives and what we're doing here on Earth.
While I was designing my home, I was living in different houses all around the world, and I saw thermostats that were just as bad as the ones in the U.S., or houses that needed them but didn't have them. I realised that this was a worldwide problem. I thought, 'Let's fix it.'
I saw 'Sleeping Beauty' when I was, like, 6 years old at the Mercury Theatre. Then, when I came to Disney, I was in the company of these wonderful artists. People like Glen Keane, like Mark Henn, who were brilliant animators who could really bring these things to life.
From now on, any flick I'm ever involved with, I conduct critics screenings thusly: 'You wanna see it early to review it? Fine: pay like you would if you saw it next week.'
For a long time, when I was very young, I went to go see arena rock bands. I was 16, and it was all I could get in to see, legally. And I saw Led Zeppelin and Ted Nugent and Van Halen and all that.
When we were kids, I know when I saw 'Pinocchio' it had a huge impact. I was ten years old, and I went home, and I was drawing the characters.
I saw an e-mail from one guy who's about 23 to one of peers. His parting sign-off was 'Don't let the bedbugs bite.' Now that's really poetic.
I was about 7 and my family was eating at a restaurant when we saw my first Elvis impersonator by total accident.
I saw this cool interview with Amy Adams from when she did 'Enchanted' and played a princess, and when kids came up to her with no make-up and ripped jeans on, she said, 'I'm off duty. I'm an off-duty princess', and I thought that was quite sweet.
Two of the first plays I saw after I arrived in Britain were 'King Lear' in Liverpool, and 'Antony and Cleopatra' at Stratford. One was produced with hardly a backdrop and the other with gigantic scene changes. I was impressed by what connected the two: the words and their life beyond the stage.
I lost my innocence with Johnny Cash. I used to watch the 'Johnny Cash Show' on television in Wangaratta when I was about 9 or 10 years old. At that stage I had really no idea about rock n' roll. I watched him, and from that point I saw that music could be an evil thing - a beautiful, evil thing.
As a kid, I remember hearing about Boba Fett before I even saw Boba Fett.
When I saw the Penderecki concert in London, in '92 or '93, I thought there were speakers in the room. It was just strings. But I could hear these kind of buzzings and rumblings, and I was like, 'Where is this all coming from?' And that was just better, to my ears. Odder, stranger, more magical.
You know, I love plays. I love the smell of a theater. The old rooms and the carpet and all that stuff. I love to tell stories. Even before I was doing music, I saw myself as a director.
When I was ten, I saw 'Grease' on stage and thought: 'I want to be part of that; it looks like so much fun.' My mum enrolled me in a local theatre group, and it all went from there.
The real power of the Buddha was that he had so much love. He saw people trapped in their notions of small separate self, feeling guilty or proud of that self, and he offered revolutionary teachings that resounded like a lion's roar, like a great rising tide, helping people to wake up and break free from the prison of ignorance.
It was the first time she had visited me here in upstate New York. It was the last time I saw her.
There was always that thing with 'Johnny' - I always saw myself as his writer and PR. But when he got out there, I had no control. His whole thing was going off on those flights of fancy. Going, 'Let's see what we can possibly do that hasn't been done before up here.' And when it works, it's lovely; it's a great night.
When I was 8 years old, I saw 'Raiders of the Lost Ark' in Charlotte, North Carolina. I walked out of there and was so inspired. I loved the movie, and I knew I wanted to be that guy.
A lot of the stuff that's happening now, I can trace back to 'Death of a Salesman.' Francine Maisler, the casting director, saw 'Death of a Salesman' and called me in for 'Unbroken.' The casting director of 'Normal Heart' had seen 'Salesman' too. I look back on it now, and it's like one thing led to another; it was a chain reaction.
There were evictions that I saw that I know I'll never forget. In one case, the sheriff and the movers came up on a house full of children. The mom had passed away, and the children had just gone on living there. And the sheriff executed the eviction order - moved the kids' stuff out on the street on a cold, rainy day.
Because I saw my parents relaxing in armchairs and reading and liking it, I thought it was a peaceful grown-up thing to do, and I still think that.
Being a white southern African who saw the transition from Rhodesia to Zimbabwe, the sense of being an outsider was absolutely instilled in my limbic system.
