I think the conventional wisdom is vastly true. There will be a huge growth in mobile, and this is something we are witnessing every day.
I would never go to a studio. I need my space, you know what I mean? I need to be able to chain smoke and pace about, cry and like... spit. Just make noise, make a huge mess. I also feel like if I was concerned for the cost of the studio - like, 'this is costing 40 dollars an hour' - I wouldn't be able to work.
In many offices it could take several days to find a paper chart and some we'll never find. Ten percent of the paper records are never found. So you have this huge delay in time.
For me the costume is always a huge part of getting into character.
The independent films are really where I kind of come from and where I feel comfortable. It's never been about the blockbusters and making a huge tonne of money. It's always been about wanting to do projects about the things that I think are important to be out there.
Living in Pakistan, you didn't have a sense of how huge and varied America was, geographically.
I just thought it was important that people knew right from the jump that I've got problems. But in all seriousness, that's a huge part of my writing process.
I've never spoken to Bon Iver, but I would love to. I'm a huge fan!
We actually did go on a camping trip together as part of the research, in a caravan, for a week. I guess we picked who annoyed us most from genuine experience. We did a lot of research on camping and what annoys people. It's quite often children playing ball games. It's a huge debate in the caravan world whether children should be allowed to play ball games or not.
Once I start writing, I am a huge reviser. To me writing is revising. I probably turn over every sentence that I write, to see if I have the rhythm right. That's why my first drafts take a really long time.
Cormac McCarthy is my favorite author in the world. I love him so much. There's one book that informs me more than The Road - it's called Suttree. That book is a huge influence on me. I'm not smart enough to emulate him, but he inspires me. He never infiltrates my writing directly. He writes incredibly intelligently about people that are marginalized.
The stories we tell ourselves about ourselves are very often not really what happened. And as I started to write stuff down, I started to challenge what I thought I knew about myself, my culture, my family, all of it. It was a huge, destroying process that completely took over my life. I just wasn't here, I mean I was physically present, but I wasn't here, I was back in the 1980s.
It's been a struggling school for many, many years, and [that's] not surprising since it's serving some of the most disadvantaged kids in the city. It wasn't the only one by any means, but it was among those. It shows that things like good, steady, stable leadership makes a huge difference; focusing on the culture of the schools as a place where kids feel supported and want to be; supporting the teachers, so they want to stay and work hard.
We know that African American students tend to be relational learners. It's about the relationships between a teacher and student. Students respond well to teachers they know, believe in them, care about them, but also who teach in a matter that elicits a more active approach to learning, rather than just sitting and listening. The research on this is strong and has been available for a long time, but it is not widely practiced. That's a huge obstacle.
Middle-class kids get to play, develop their thinking ability. Poor kids are much more likely to get regimentation under the guise of socialization. On top of it, we have huge segregation in early childhood programs. I don't see these patterns changing anytime soon, and that's a big obstacle.
My identity is mostly as a songwriter and lyricist and singer. I also have a lot of production ideas but I have my own limitations in terms of what instruments I'm actually proficient at and what I can do myself, so I really love working with people on the production end; just really going for it with orchestration and instrumentation and production. That's where I see myself going: maintaining my integrity and abilities as a songwriter, but applying it to different contexts, to where I can put on a huge feathered costume and roll around in the ocean.
Part of battle has been getting Hollywood to recognize that comic books and superheroes are not synonymous. That's been a huge breakthrough, just in recent years really, and as a result of that recent breakthrough, we've had movies like 300, Road to Perdition, and A History of Violence, that very few people realize were based on comic books and graphic novels. It's very important to make that differentiation.
I'd say the purest experience for the movie is not to have read the book because I think when you've read the book you're just ticking off boxes. I think that after you see the movie, reading the book is a cool thing. I always say the movie's not meant to replace the book. That's ridiculous. I'm a huge fan of the book.
I don't see a huge difference between the African condition and the black American condition. The only real difference is that black Americans live in the richest country on Earth surrounded by a majority white population and are almost entirely disconnected from their original culture and their God-given identity.
Unfortunately there is a standard set for it that precedes hip-hop. It would be great if corporate America didn't do this, but there is a huge market for sex and violence and anti-Black representations in America and the world that doesn't begin or end with hip-hop.
Legions of young hip-hop fans are as against this as hip-hop's most fierce critics. There is a huge underground movement within hip-hop circles that against these representation. You can hear this message on tons of lyrics and rap songs produced by independent emcees. But they are fighting against a well-oiled and well-financed machine.
Our goal is to turn solar electric technologies into a commodity business like computer chips, and make them ubiquitous in the built environment. I'd couple this with a huge commitment to fundamental research in nanostructure to goose the next generation of more efficient, cheaper, dematerialized cells. And if I'm truly czar, I'd emphasize silicon technologies, as that approach is the one least likely to encounter material constraints in supplying an explosive global demand.
From age 23 to 44 - I'm 45 now - I was always in need of money, and I was especially in need of it from 23 to about 34, and my great aunt would always give me money, a hundred bucks, every two months or so, and a lot of times that hundred bucks made a huge difference - I could eat or pay a small bill. It kept me going. She gave me money. It was very loving.
I don't beat at the details, but I do always keep in mind that anything that isn't A) moving the story forward or B) enlarging my understanding of the central characters has to be sacrificed. I have huge folders of details - research - with a story like Netherlands. Only a very small part of it gets used. The old iceberg analogy again.
Education is huge for me. I went to public school until I turned thirteen, and was lucky enough to afford college once I became successful as an actress. I cannot believe that quality education costs as much as it does in this country. Ghetto Film School is a remarkable public high school in New York City where students get to learn to express themselves through filmmaking, and have hands-on access to equipment.
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