It's pretty rare that I see a film that I did a long, long time ago.
I use something that is a real staple in the directing world. It's called a dance floor. You lay it down so that it's so smooth you can roll around, and you can put furniture on top of it. It's seamless and you don't see it.
I feel like the books were just written like a movie. You read it and you can just kind of see everything. Before I went in to read with the director, I read the first book and I loved it. I didn't realize how good the writing was. And then I went in and read with Gary Ross, and that was it.
I see that all of us who live are nothing but images or insubstantial shadow.
Growing up in New York has influenced my style so much, and I have an amazing relationship with my stylist, Estee Stanley. We have so much fun with the whole process. She picks out dresses, I try things on and play dress up, and we get creative to see what works.
I think miracles exist in part as gifts and in part as clues that there is something beyond the flat world we see.
Open your mouth and shut your eyes and see what Zeus will send you.
I think good actors can sort of see into people and immediately you have a chemistry with them or not. It's like an affair with no mess. You don't actually consummate it, but you get to pretend, imagine what it would be like.
I feel like I could never walk around a film half-naked. I definitely wouldn't want to see that.
I feel like people start to believe things that people say about them and start to think they're really important. If you have a family that is down to earth and cool, I don't see how you can be like that.
You look at the floor and see the floor. I look at the floor and see molecules.
You see a lot of us lingering around. We'll just stand there on the edge of the pool and kinda psych ourselves up into getting in.
There has been a most Providential Guidance which the want of prudence, vigilance, or judgement has not impeded, and it is here that we can most clearly see the designs of God.
I have similar feelings, actually. The intimacy of a club: you can see the people, you can almost feel them; you can't beat that. People will say things, and shout out, it's almost like they're up on the bandstand with you.
The more you read, the better you are at writing, no matter what you're writing. A lot of songwriters miss that and don't see the connection there, and I've always felt like you're more able to communicate if you have a bigger toolbox to work with.
The process of receiving information for me is seeing, hearing, and feeling their energy in my frame of reference. That doesn't mean I see the individual, unfortunately.
I don't hang out with movie stars, and you won't see me going to many Hollywood parties. I'm actually quite boring.
In order for me to write a scene, it's very important for me to see and experience everything with my own eyes, so yes, I was able to visit some remarkable houses and destinations while I was in China.
Shows have been sold out. It's overwhelming, you know. I had no idea what to expect with this new sound and everything and just to see so many people just come out and embrace it, it's overwhelming.
When we did Wayne's World, it was 14 million dollars and they didn't bug us too much because they just thought it was some little movie that nobody was ever going to see. We showed them.
I think I know I've been working very hard for the family business, sometimes those days are long days and I think if I know I'm working hard and pulling my weight, both working and playing hard at the same time, I think everyone who I work with can see I am there pulling my weight.
When videotape came so a lot of movies that I do have a kind of afterlife in video. Things where movies that I do would come and go; they still come and go but you can go rent them and see them on TV.
It's great to see that kind of support online. For people to be messaging myself, my nan and the rest of my family, all the support has been great.
To see the ball, to run after it, makes me the happiest man in the world.
As I get older the stars have gone from my eyes more, and I see that life is just something that has to be lived with, that it's better not to struggle.
There ought to be more grants that go to people in their late twenties and early thirties. That's a crucial age, although it's very hard to judge who is worth supporting and who is not. Looking back on my own life, I see that was the period when I was closest to giving up as a novelist and when I most needed some encouragement.
You leave the States, and you see people have bigger problems than you, much worse problems than you.
Still, it can be more effective to accomplish what you need to accomplish with the minimum effort. Watch Anthony Hopkins. He doesn't appear to be doing anything. He is so still that you can't see him working, but you are drawn into his character through his very stillness.
Obviously, the hit singles get the biggest reaction - that's when you can see people really getting excited.
You see in the streets of London, great and little boys running about in long blue coats, which, like robes, reach quite down to the feet, and little white bands, such as the clergy wear.
If people want to see you, they'll find you. If they don't see you on TV, they'll find you on the Internet.
When I see a colour or hear a sound, I am aware of something, and not of nothing.
I don't see that any buildings should be excluded from the term architecture, as long as they are done properly.
I go to New York to see live shows, not movies.
And for every project, because it takes years, you can see the early drawings and collages as just a simple, vague idea, and through the years and through the negotiations of getting the permit, you see that every detail is now clarified.
I know I'm happy and can't wait to see where my career will go next. This isn't the end for any of us. I can understand why they are upset but I want them to move forward and look for the future.
