The thing that's worked for me is having as much of a connection to the material as possible. And sometimes the material requires a more straightforward approach, and sometimes it requires a little more silliness, you know?
Some of my music requires an obsessive-compulsive approach and a real embodiment of excessiveness. So I really have to live in that world of overstimulation. Sometimes I think it's like a drug; more is more, and you can never get enough. The older I get, the more I crave that excessive aesthetic. It's never going to satisfy me.
New laws, new kinds of things can emerge as the universe evolves. The more moving parts you have in something, the more possibilities there are. There's a whole new science now of complexity, and what we see is that complexity requires a very different approach than the kind of bottom-up approach that fundamental physics has always used. We're gonna have to think about the world in a different way if we want to address complex systems.
I suspect many people have the problem that they type much more slowly than they think. Consequently, they keep resynchronizing their thought processes with what they have typed so far, and they match a later part of the thought with an earlier part that they have typed.
I think that being an artist is more an approach to life than an approach to work.
I sometimes think the theatre is more demanding because it requires things you don't have in films, like it requires you to make the people in the front row believe you and not look an idiot to them while the people right at the back can hear you.
When you start to think about the drives that humans have, I think sometimes we find we are simpler than we thought and more easily manipulated.
Control in modern times requires more than force, more than law. It requires that a population dangerously concentrated in cities and factories, whose lives are filled with cause for rebellion, be taught that all is right as it is.
Hip-hop has survived as a sonic practice more than anything else. It's an approach to music-making based in sampling and rhyming over beats, that's proven far more versatile than its detractors thought it would.
As a woman filmmaker in Bosnia, I have more privileges than disadvantages. I feel I can do more than my male colleagues with a motherly approach rather than a male approach.
I really don't know what exactly all the songs mean. Sometimes other people have meanings and when I hear them I think, 'That's really a better meaning than I thought, and perfectly valid, given the words that exist.' So part of what makes a song really good is that people take in different meanings, and they apply them, and they might be more powerful than the ones I'm thinking.
I've always felt that the human-centered approach to computer science leads to more interesting, more exotic, more wild, and more heroic adventures than the machine-supremacy approach, where information is the highest goal.
I think weather affects my mood a lot more than I thought, and I like to be in bad moods sometimes.
Sometimes a slow gradual approach does more good than a large gesture.
Part of it is, I think, just to let people know you've got a record out there and that you're still alive requires more work than it used to, because the traditional radio, bug chains of record stores, all of that, that doesn't exist anymore.
I'll never approach a part in the same way again. Piaf taught me so much. In terms of my work, I think I'll enjoy it even more than before, because now I know that characters truly exist in their own right. I'll have a way to bring them even more intensely to life.