A Quote by Brit Marling
When I go into a pitch room and I'm pitching something with a writing partner, everybody tends to look at the guy, even if I'm doing a lot of the talking.
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If I walk into a room, and nobody knows who I am, and they've never seen wrestling a day in their life, I want everybody in that room to look at me and go, 'That guy does something. He is somebody important.'
I don't advocate Stalinist monolithic state structures any more than I advocate capitalistic monoliths. Unfortunately, human society tends to the monolithic, whether you go to the left or right, everybody in leathers, or everybody holding Chairman Mao's book, and if everybody goes to one end of the pitch, I always go to the other.
Usually when I'm painting something it takes a lot of focus. I have the room I go into called the white room. In my imagination when I'm really focused I go into that white room and all that's there is me, my painting, and my tools. There's no distraction. When I'm really concentrated I like to have it silent but when I'm doing something that doesn't have to be necessarily perfect, I can just go for it.
A lot of times, I've always looked at pitching in the All-Star Game as a prelude to how you pitch in the postseason, sometimes how you might have to pitch on two days' rest out of the pen, only throw one inning and then you have to go face the best hitters. That's what you do in the All-Star Game.
The game can come down to one pitch. But when you're actually out there on the mound and when you're pitching, you can't be worrying about the margin of error or whatnot. You have to go with your strengths and what you believe is the right pitch and keep executing pitches.
Writing poetry is talking to oneself; yet it is a mode of talking to oneself in which the self disappears; and the product's something that, though it may not be for everybody, is about everybody.
Like I'm seeing Chris Sale; he's got a similar pitching style and strikes guys out a lot. Why are people only talking about my strikeouts and all that stuff?... Why not the other guys, who have similar numbers and pitch counts?
When I first started out and would go on pitch meetings, there was always this kind of eye-roll that would come with pitching a horror movie when you were dealing with the studios. Unless it was viewed as a cheap product that could turn a lot of profit, there wasn't a lot of interest in making it good.
There are certainly days that we can convince ourselves in Washington that everybody's talking about one thing, and then I'll go home to my district and realize that everybody's actually talking about something different.
The art of acting is to pitch good. You do the pitching and hope that the other person catches the ball and does some good pitching back to you.
L.A. can make you feel like you've already made it. You're living off 40 dollars a week; it's nice weather. You go outside on your bike; you go to the coffee shop, and everybody is doing nothing. It doesn't leave a lot of room for ambition.
What keeps this industry alive is creators doing their own work. Once you change a costume or origin enough times, it's a dead body - you're just electrocuting it and keeping it sort of shambling on. There is a lot more creator-owned stuff now, and some of it I look at and go, 'Oh, that's his pitch for a TV show. That's his pitch for a movie. That's him saying oh, this kind of thing sells.' I didn't do that.
I'm a very visual thinker, so the characters are running through my head, doing what they're doing when I'm writing them. And there'll be moments where I'll just kind of throw a look off to the side as if I'm talking to one of the characters. It's always been something that I've had with me since I was a little kid.
I was an 'SC guy growing up. I remember my high school coach asking everybody what college and he was shocked when I said I wanted to go to USC. It wasn't too far from us. There was something about 'SC. Everybody wanted to go to UCLA, but I was always an 'SC guy.
It can happen in football that you argue with somebody in training but when you are not even talking on the pitch something has to change.
You couldn't get me to go travel around and sit in a hotel room again. I have no interest in doing that. So everybody's happy. I am, at 74. Some people like doing it, but I never was much for that, anyway. It's a lot of work. So the only thing I miss about all of it is the camaraderie of the tour, but that doesn't offset the rest of it.
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