A Quote by Arthur C. Clarke
There's a passage about 'rivers of molten rock that wound their way... until they cooled and lay like twisted dragon-shapes vomited from the tormented earth.' That's a perfect description: how did Tolkien know, a quarter century before anyone ever saw a picture of Io? Talk about Nature imitating Art.
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Everyone is so preoccupied by youth. People talk about how the movie business is a microcosm of the bigger picture, or life imitating art, but the business is guilty for getting women out of the way.
Now, we're just imitating and imitating and imitating what we've done before. The real revolution on how we make clothes and how we wear clothes is about to come. I don't know if we should be afraid or not. That's when we're going to see a Steve Jobs in the industry.
Does any art have a practical value? People love to talk about how expensive a painting is. That's the only way we can talk about paintings in this century.
Crime shapes how we think about the world; it shapes social decisions that we make; it shapes our base of knowledge. But we don't talk about it intelligently.
So why did I think about her every second? Why was I so much happier the minute I saw her? I felt like maybe I knew the answer, but how could I be sure? I didn't know, and I didn't have any way to find out. Guys don't talk about stuff like that. We just lie under the pile of bricks.
A terrible premonition washed over me. This was how the whole world would end.... They would devour the forest and excrete piles of buildings made of stone wrenched from the earth or from dead trees. They would hammer paths of bare stone between their dwellings, and dirty the rivers and subdue the land until it could recall only the will of man. They could not stop themselves from doing what they did. They did not see what they did, and even if they saw, they did not know how to stop. They no longer knew what was enough.
I really enjoyed Eddie Bracken. He told me a great story. He did The Odd Couple on Broadway, replacing Art Carney, and he said, "Art Carney did it for six months and I did it for three years, and I don't think anyone I've ever spoken to saw me. They all saw Art Carney."
The real thing about evil," said the Witch at the doorway, "isn't any of what you said. You figure out one side of it - the human side, say - and the eternal side goes into shadow. Or vice versa. It's like the old saw: What does a dragon in its shell look like? Well no one can ever tell, for as soon as you break the shell to see, the dragon is no longer in its shell. The real disaster of this inquiry is that it is the nature of evil to be secret.
Completely true to nature!' - what a lie: / How could nature ever be constrained into a picture? / The smallest bit of nature is infinite! / And so he paints what he likes about it. / And what does he like? He likes what he can paint!
The thing about writing or making art is that I'm not thinking about that stuff while I'm doing it. Like the driver's ed kid, in retrospect I see that that was meaningful, and I felt close to him in that way, but at the time I just thought it was fun to draw, and that's all it was. I think that's what's weird about life and about making art. You have to talk about it later. I guess I should be prepared to talk about it now. That is why I'm here. But again, pass.
Until 'Lovecraft Country' feels like a show where people go, 'Is that how the world used to be?' we do need to talk about it and make art about it, because sadly, it's not history yet.
He said I couldn't do (off the field) what I did when I was 23 or 24, and I paid attention to him. Damn it, I got a trainer and went to spring training in the best shape of my career and in 1985 had the best season I ever had and we won the World Series. Before that, I didn't know how long I was going to play. That talk with Mr. Fogelman was the most inspiring talk I ever had with anyone.
You have to do stand-up quite a long time before you learn how to do it well. It was probably years before I was confident enough in stand-up that I was able to talk about the things I wanted to talk about, the way I wanted to talk about them.
It's wonderful to read interviews by old blues guys - they talk about all their influences, they talk about who taught them how to play, and who they saw, and how they were determined to play that way.
I love digital, but the only problem is less intimacy. People look at the screen right away. Before, nobody saw the picture before you saw the final picture. There was more privacy in a way.
Filmmaking materials are in the hands of more people now than ever before. I would like to think that the more people have these tools, the more people will learn how to use them, it's another argument I would argue for, personally, for art's education. Because there are kids who aren't that literate in screen language and they've got to know how people select shots, how people edit audio, how people combine things to make what they see on the screen. It would be like the 15th century or the 16th century in Germany, and somebody amends a printing press and you don't know how to read and write.
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