I think sometimes for me that sounds like almost being selfish. I am not about personal records.
Nobody wants a nanny state, where the government is stamping out initiative and telling us what to do, but the idea that the only alternative to that is to throw the American people overboard into a global economy with no protections to cushion us from some of these blows is absurd on its face. That's why I think there's been a concerted effort to distort my message. When you hear me speak beyond the sound bites taken out of context, I think I make a lot of sense to people, even those in Red States like the one where I grew up.
I'll say this, and it'll sound like bullshit, but it's not: I don't really pay attention to this stuff [Man Booker Prize] very much. I think part of it is I can see myself wondering who's doing what and getting jealous, and none of that's healthy for me. So I just don't really.
Every artist has a very particular sound and style.
When you're on a sound stage and you're shooting a fire stunt, this weird thing happens where the fire eats up all the oxygen and everybody gets a little dingy.
I love fire. I just think it's hypnotic and great, but I've got to tell you - on a sound stage, that stuff scares me.
I think it's important if you're going to write a cookbook, it should sound like you talking - it should be things you actually believe, otherwise I'm not interested.
I have to put my father over because he really taught me a lot, especially when it comes to out-of-the-ring psychology and how to react when you're approached by fans after a show or in the airport. It might sound silly, but a lot of those things come into play when you're playing a character.
I remember doing "As Cool As I Am" and Steve Miller, the producer, saying "I really hear a drum loop here. I want to play it for you." When I wrote it, I thought, "This isn't going to sound very folky. I don't think it's going to go with mandolins and banjos." Then he played the loop for me and it sounded right.
We try to make the sound hold as much relevance as it does on the record you know, we don't try and interpret it in a different way.
We try to be present when we are drinking our tea, which isn't as easy as it sounds. It's very easy to think, right now I'm going to be really present while I'm drinking my tea, here I am drinking my tea, and I'm so present, look this is easy, I am here drinking my tea and I know I'm drinking my tea blah blah blah blah... right? And the one place where the mind is not, is here. It's just thinking about being here.
When we were making it [Star Wars], none of the effects were in. So the first time, I thought it was, you know, that - I mean, we were surrounded by English crew members that could hardly keep themselves together. They were, "Here comes the guy in the dog suit." They made fun of us, which was OK. But the first time I was sitting in a theater, and I saw all the effects in, and the big ship flew over the audience, and the sound rumbled, I pretty much thought we were close to home.
One-hundred facts about Vietnam and we studied the fact sheet and got in to these arguments and it was fantastic, and I remember one moment when we heard two students saying don't talk to those guys, meaning my brother and me. They've just memorized that stupid fact sheet. And we thought, gosh do we sound that good? It didn't seem possible. But that was my introduction to politics.
I mistrust the term graphic novel because it sounds like a good thing to put on a tee-shirt. That's why the French like them.
I really suggest listening to talk radio. I mean, if you just listen to what the talk hosts are saying, they sound like they are lunatics.
Colombia was a big wheat producer in the 1950's. That was eliminated by what sounds like a nice plan, called "Food for Peace. " It's a plan by which US taxpayers subsidized US agribusiness to send food to poor countries. This, of course, destroyed the domestic agricultural markets of these countries, opening these markets to US agribusiness.
I think music isn't just a genre or sound. If it sounds good and makes you feel good it's a beautiful thing.
The draft that finally goes to my editor doesn't get into her hands until I have read it out loud innumerable times - sometimes into a tape recorder - to make sure that it sounds right.
I love words; I love the way they sound. Once I've worked on everything else, the last drafts of my books come down to how they sound.
Second Wave feminism started with consciousness-raising groups, which sounds "big" but it's really just house parties. Women getting together and saying, "You feel this way?! Me too!" Hanging out is consciousness-raising.
[John] Hughes really wanted it to sound authentic. He was a real collaborator. He encouraged us to bring to the material things we thought were maybe more truthful.
I think the Congress will do the right thing. I think that they've - you know, they got into certain arguments and they start worrying about assessing blame, and there is a little demagoguery, but in the end, something this important, they'll do the right thing. So this really is an economic Pearl Harbor. That sounds melodramatic, but I've never used that phrase before. And this really is one.
You've got the right - you've got a wonderful person with Sheila Bair, most of the viewers have never heard of Sheila Bair. [She] has taken eight percent of the deposits in the United States and seamlessly moved those over to sound institutions which in turn have gotten more capital, ended up, it's been a magnificent job.She'll never get a golden parachute or any severance pay or anything. She's done a great job. We've got some great public servants. We have I think the right people in there to get the job done, and then they need more tools.
I mean you know at midnight everything is going to turn to pumpkins and mice; right? But if the evening goes along, I mean, you know, the guys look better all the time, the music sounds better, it's more and more fun, you think why the hell should I leave at quarter of 12. I'll leave at two minutes to 12. But the trouble is, there are no clocks on the wall. And everybody thinks they're going to leave at two minutes to 12.
There are some ideas that will translate from Iraq to Afghanistan and there are many that will not. The first lesson of counterinsurgency, in fact, is that every situation is truly unique, has its own context, its own specific set of factors - and you have to understand that context in enormous detail to be able to craft a sound and comprehensive approach.
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