A Quote by Bill Gates
My broad sense of this is that authors like Smil really paint the clear picture, and once you see that, it's kind of Oh, of course. That's such a primal thing to all these physical services that we take for granted.
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When you write a novel or paint a picture, you have the opportunity to approach it and back off, tear up pages, write, rewrite, paint over, and come back to it. In film, once you start shooting, you can't restart the clock, and you keep moving forward, and you don't look back, and you don't go back. And that is, of course, antithetical to the creative process. It's really hard to generate a comfortable creative flow under that kind of pressure.
When I was a kid, my mom once told me that God was an artist and how on occasion He’d throw a bucketful of paint across the sky for us all to see. I asked her why the paint disappeared by morning, and she told me that if the sky was always like that we might take it for granted. I suppose she was right. Maybe that’s what war is all about—so we can appreciate times of peace.
I remember kind of doing early acting and thinking, 'God, they don't paint behind the sets.' It's a bit of a shame, really - 'Oh, what's on the other side of this wall? Oh, you can see the plywood.' I was really disappointed. I just thought that these things were real, from watching things as a kid.
I remember kind of doing early acting and thinking, "God, they don't paint behind the sets." It's a bit of a shame, really - "Oh, what's on the other side of this wall? Oh, you can see the plywood." I was really disappointed. I just thought that these things were real, from watching things as a kid.
We take it for granted that we can see at all times of day and night. But there was a time, not all that long ago, in the age before electricity, when night brought total darkness - and with it, a not-so-small amount of terror. We get a sense of this when we go camping or when there's a power outage, and our fear of the darkness is primal.
When I see those ads with the quote 'You'll have to see this picture twice,' I know it's the kind of picture I don't want to see once.
Don't you love it when people in school are like, “I'm a bad test taker”? You mean, you're stupid. Oh, you struggle with that part where we find out what you know? Oh. No, no, I can totally relate. See, because I'm a brilliant painter, minus my God-awful brushstrokes. Oh, how the masterpiece is crystal up here, but once paint hits canvas, I develop Parkinson's.
What you do when you paint, you take a brush full of paint, get paint on the picture, and you have faith.
If I find myself half-carelessly taking lapses for granted, "Oh, that's what they always do." "Oh, of course she talks like that, he acts like that," then I know nothing of Calvary love.
If I was painting a picture, I wouldn't want to take a picture of a single paint stroke. I'd rather show people what it looks like when it's done.
I have had a pretty hardcore crash course on living out of a suitcase. Some people take consistency in their lives for granted. When you have little to none, you discover it's kind of a nice thing.
People take love's continuity for granted, just as they take their body's continuity for granted. They don't realize that the best thing about love is its regular presence. Once you can establish that, it's an added foundation to your life.
I try to focus more on the positive, but it's half the time I'm getting, "Oh you're only in the gym to take a picture," and it's like, "So what the f--k, I'm in here every day, I drove an hour just to take a picture?"
I think the most important CEO task is defining the course that the business will take over the next five or so years. You have to have the ability to see what the business environment might be like a long way out, not just over the coming months. You need to be able to both set a broad direction, and also to take particular decisions along the way that make that broad direction unfold correctly.
What I like about the Carpenter take on The Thing is the fact that it just has so much suspense. It seemed like a different story, with the horror elements. Those films that really speak to the primal fear that we, as human beings, have about the unknown have always intrigued me. That's the really scary thing, not the slasher, macabre movies.
Photography has almost no reality; it is almost a hundred per cent picture. And painting always has reality: you can touch the paint; it has presence; but it always yields a picture - no matter whether good or bad. That's all the theory. It's no good. I once took some small photographs and then smeared them with paint. That partly resolved the problem, and it's really good - better than anything I could ever say on the subject.
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