You know what I hate, man? Guys that you know haven't seen the film: they just quote a bunch of statistical bullshit.
Things take a little more time when you're not doing really obvious sales. I don't have any nudity in my videos, or anything close to it, and I don't have shootouts or explosions or car chases ... There aren't a bunch of drugs in the videos and I am not wearing hot pants, and I don't dance. So, as far as videos or anything visually is concerned, I'm not a very visually stimulating artist.
I will personally never ever get over the communal experience of theatrical cinema. I will never get over the scale of a big screen in relation to your small body, big sounds in a big room with a bunch of other people.
[Having bigger budget] allowed me to be a full-time filmmaker for a couple months and not have to have a day job and be balancing a bunch of other stuff. It allowed me to bring in all these people from different parts of the country. It allows me to have an actual food budget, where we could eat healthy for the month we were shooting. It makes all the difference in the world.
The Metallica film was like this incredible life experience where I learned the most through guys that stereotypically you would think couldn't offer much to you. That's what I love about the film: It explodes your stereotype of them - they're not just a bunch of lugheads banging on the guitar.
So, regarding the time frame, I'm only too willing to admit that my crystal ball, like everybody else's, is cracked. If I could predict precisely, I would have started predicting the stock market and would now be living with a bunch of young women on Bora Bora, having bought it.
We found that if you played a bunch of punk singles in a row, people would dance like crazy and then get worn out and go somewhere else in the house. And if you played reggae all the time, people ended up leaning against the walls and nodding their head. But if you mixed it up, the floor got more and more packed, and the energy from the two types of music seemed to feed into each other, and the adrenaline from the punk, and the seductive sway of the reggae seemed to fit together.
If a parent wants to choose where their kid goes to school, they can either fork over a whole bunch of money in tuition for private school or they can buy a new house near the school of their choice. And it's driving up property prices in certain key areas. When you stop and think about it, that's kind of ridiculous.
I don't think people hear my songs and think, "Well this is a way to make a bunch of money."
The biggest thing I've noticed with some of my favorite directors is their gift of sticking a bunch of strangers in a room together and making them comfortable and making them into a cohesive group. There's magic involved, because you don't know why anybody would pick this group of people.
I love to go to the movies with people, but a lot of the time it's me in a room with a bunch of other movie critics, which is fine.
I like making books but I'm not sure exactly what I'm doing. Perhaps I just try to arrange a bunch of seemingly random drawings into something that makes a vague narrative sense. Sometimes it sort of makes sense, sometimes it doesn't.
When I write lyrics, I really do go into an automatic folk appropriation mode... I see the vernacular register of 20th century song as being a bunch of forms to adapt and reconfigure.
To be on set every day with a whole bunch of people that know their job and my job a lot better than I do and I'm supposed to tell them what to do, that's very uncomfortable and awkward.
When I went to the University of Iowa in order to be a writer, I thought, This is the worst way to learn how to write. To sit in a room with a bunch of would-be writers, who want to write the Great American Novel, every one of them, and you read their stories and they read yours, and you're not living a life. I don't like that. I like learning on the job. The character of my work has definitely evolved from the character of my life.
When you walk around, your vision system is processing a whole bunch of signals in milliseconds and judging that a visual object is a wall, or an imminent cliff, or a car heading towards you. This might be disturbing to a lot of people, but some of those guesses are errors.
We love to congratulate ourselves on the forward-leaning liberal society that we live in, and the truth is it's a bunch of rattle snake-handling fundamentalists that are much closer to Stalin than they are to FDR or anybody else like that.
It's no secret that our nation's public universities want to transform American young people into a bunch of hyper-sensitive, intellectually-neutered cream puffs.
We're just a bunch of angry kinds with no money.
The Bears are front-runners. Quitters. They are not a second-half team, just a bunch of cry-babies.
My husband and I oddly have worked together a couple of times. We did a 'Veronica Mars' episode together. We didn't work together, but we were both in 'Ghost World.' We had a theater company in L.A., for a bunch of years. So, we've worked together a fair amount, and it's always just great fun.
I was a huge fan of Marky Mark and the Funky Bunch.
Impressing a bunch of snooty teenagers is a pretty lame life goal to have.
When I first got the audition for Shado, I went online and subscribed to DC Comics and read a bunch on Shado and the Yakuza, just to get to know her character better.
You're always moving and thinking about a whole bunch of things. But those traits work well for me in studios and in meetings about creative ideas. If you listen to the songs I write, they are the most ADHD songs ever. They have five hooks in one and it all happens in three minutes. I figured out a way of working with it.
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