A Quote by Art Buchwald
Television has a real problem. They have no page two. Consequently every big story gets the same play and comes across to the viewer as a really big, scary one.
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A big reason why I'm not a big TV watcher is that in my formative years as a viewer, there wasn't that much great television on, or at least, television that appealed to me.
If you look at what is happening in Republican conventions across the country, they are energized. And the message is really the same - that is, big government is a problem, spending is a problem.
Television has a real problem. They have no page two.
One of the things that's really fun to tap in with television right now is this sort of explosion, the peak TV moment that we're in, people are exploring different modes of storytelling here. But one of the exciting things here is being able to commit upfront to a big, big, big story.
There is a major problem with reliance on placebos, like most vitamins and antioxidants. Everyone gets upset about Big Science, Big Pharma, but they love Big Placebo.
The truth is few people “think” big and even fewer “play” big. Why? Because “big” often means big responsibilitie s, big hassles and big problems. They look at that “bigness” and shrink. They’re smaller than their problems. They back away from challenges. Ironically, they back themselves into the biggest problem of all ... being broke, or close to it.
My favourite two festivals have always been the Big Day Out and Summersonic in Japan. The Big Day Out is a little more fun because it lasts longer. It's like an abbreviated version of the Warped tour because you get to play with the same people every day, which is really fun.
The real reason why I don't play in many big cash games is because I can't stomach the thought of losing $100,000 or more in any given session. If I play three consecutive days at the Bellagio, I might win two days but lose big on the third. Really, who needs the agony of losing that much money? Not me.
You know how it always is, every new idea, it takes a generation or two until it becomes obvious that there's no real problem. It has not yet become obvious to me that there's no real problem. I cannot define the real problem, therefore I suspect there's no real problem, but I'm not sure there's no real problem.
One thing that fiction does is it allows us to take big picture questions, big issues, big moral and socio-political changes and see how they play out on real people's lives, with real individuals.
In my personal belief, the big problem with climate change is getting people to understand the magnitude and scale that we're dealing with. If you buy a vehicle that gets 35 miles to the gallon, that means nothing; it's not enough. We need to make changes across society and in every piece of the energy pie.
A pen is different from the pad, the key, moving your fingers across a screen. I like both. I like to work on sketchbooks, big old white sketch paper. I like how that feels, and I like to put different media on it. Then there's the phone, smartphone, iPad: It's the new page, and it's not the same page anymore.
Songs like "Spirit Carries On" really gets the audience moved and on the same page. It's challenging and all so much fun to play.
I don't know if you've ever seen some of the Sidney Lumet movies, like Dog Day Afternoon [1975] or Network [1976]. They're real events that happen in real time, and there are all of these different characters experiencing the same thing in different parts of the movie ... I am so bad at explaining my films. But it's in the world of finance and the world of media, and how they connect. It was a big undertaking. A big, mainstream movie, which stars Julia Roberts and George Clooney. But for me, it's really just a small story about character and people.
In the Washington soft money game, big business and big labor are accomplices working together to protect the mushy middle of big government, with plenty of special interest plums: Big unions get big spending and big business gets corporate welfare and special tax breaks - all at the expense of average Americans.
The photographer begins to feel big and bloated and so big he can't walk through one of these doors because he gets a good byline; he gets notices all over the world and so forth; but they're really - the important people are the people he photographs.
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