A Quote by Artie Shaw
An audience is in many respects no more than a mob under loose control.
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The educated man pictures a horde of submen, wanting only a day's liberty to loot his house, burn his books, and set him to work minding a machine or sweeping out a lavatory. 'Anything,' he thinks, 'any injustice, sooner than let that mob loose.' He does not see that since there is no difference between the mass of rich and poor, there is no question of setting the mob loose. The mob is in fact loose now, and--in the shape of rich men--is using its power to set up enormous treadmills of boredom, such as 'smart' hotels.
Categorical condemnation is the hatred of the mob. It makes cowards brave. And there is nothing more fearful than a religious mob, a mob overflowing with righteousness – as at the crucifixion and before and since. This can happen only after we have made a categorical refusal to kindness: to heretics, foreigners, enemies or any other group different from ourselves.
Hope is in some respects a thing more brilliant, more vivifying, than fruition. What we have looked forward to with eager and earnest aspiration is never in all respects equal to the picture we had formed of it. The very uncertainty enhances the enjoyment.
The mythology in rock n' roll is that I'm a bit of a loose cannon. Yet I've produced more music than anybody in my generation. So how much of a loose cannon am I? But the general public believes that I'm a loose cannon, so let them believe it. I'm not going to correct them.
In some respects, South African apartheid was more vicious than Israeli practices, and in some respects the opposite is true.
Loners live among the mob, so the mob mistakes us for its own, presuming and assuming. When the mob gets too close, the truth is revealed. Running or walking away, chased or free, any which way, we tell the mob in effect I don't need you.
The audience works as such a mob. They either all laugh or all don't laugh, and, you know, changes from audience to audience.
Many people believe that decentralization means loss of control. That's simply not true. You can improve control if you look at control as the control of events and not people. Then, the more people you have controlling events - the more people you have that care about controlling the events, the more people you have proactively working to create favorable events - the more control you have within the organization, by definition.
I bless God for this retirement: I never was more thankful for any thing than I have been of late for the necessity I am under of self-denial in many respects.
Yes, ISIS is a threat. It's more than a nuisance. It's also in many respects criminal violence. But it isn't, in my view, a central strategic issue facing humanity.
Blank cartridges should never be used against a mob, nor should a volley be fired over the heads of the mob even if there is little danger of hurting persons in the rear. Such things will be regarded as an admission of weakness, or an attempt to bluff, and may do more harm than good.
The only salvation for us is to stop being an incoherent, loose mob and to change into a strongly organized, disciplined army.
I do think there's a smaller audience that's looking for something that's a little more adult and a little more nuanced [than many Hollywood movies]. At the same time, I think everyone who's making movies hopes to appeal to the widest audience possible.
In many respects, the United States is a great country. Freedom of speech is protected more than in any other country. It is also a very free society.
There have been so many stories out there about me, so many untruths. I've always believed you can only control what you can control. I can control my attitude, my effort, my commitment to West Virginia. I can't control lies.
I definitely prefer the single camera better. For me it's the simple fact that I enjoy working in front of an audience, but when you're trying to create a suspension of disbelief it's much harder to do in front of audience because they become a partner. Moreso than that, they become in charge of the timing. From the simple, mechanical fact that you have to hold for their laughter. The actual timing of the scene is in the hands of the audience. As a control freak, I don't enjoy that as much as the ability to be able to control it in an edit room.
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