A Quote by Christine Bieselin Clark
Trying to use all the existing technologies that were out there wouldn't work for us because none of them were flexible. Everything was rigid in some way, so we had to go on a manhunt, essentially for something that was a viable technology. So it was a good four-months of just designing and figuring out the lights.
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None of the established museums were treating cartoons seriously. It was considered a lesser art or no art at all, just a way to sell newspapers. Even the syndicates who were dedicated to the cartoons were throwing them out, figuring they had no value after they were printed.
Tech stocks were the cubic zirconium of the market. They looked good and were sexy, but they just were a way for the company selling them to make money. That's always going to be transient in terms of the stock market. What's real is that companies have to compete. Technology used well is a great tool to enable that if only because most companies dont use technologies well.
During the curfew, whoever went out, the people were watching you. Any Japanese home, there was some person figuring he's a good American citizen by doing his duty, and they were watching every move each family were doin'. Or if they went out, they followed them to see where they were goin'.
We were never a band that did 96 takes of the same thing. I had heard of groups that were into that kind of excess around that time. They'd work on the same track for three or four days and then work on it some more, but that's clearly not the way to record an album. If the track isn't happening and it creates some sort of psychological barrier, even after an hour or two, then you should stop and do something else. Go out: go to the pub, or a restaurant or something. Or play another song.
And if God were trying to reach out to us, and teach us something about the deepest nature of matter, he might use some drugged-out surfers.
I probably had the most fun ever in the ring with Christian. And it was because he could just pick stuff up out of thin air and make it something. Neither of us were these big high-fliers; none of us were power guys doing these big, crazy moves. But the finesse and the things were smooth with me and him.
Putting together a list of heroes for 'Original Sin' was a long process, just like figuring out the villains. Along the way, some were taken out, and a few more were added.
I felt like I had to be conscious of myself as a girl for the first time. I had to be more feminine. I had to look a certain way. And it's something that you want to suffer in silence, but I would go onto movie sets and they would bring out bras that were basically binders, because there were continuity problems between months.
These women were taking over these former manufacturing warehouses in SoHo and figuring out a way to be fashionable and viable without money. It's hard to imagine a life like that in Manhattan now - there's something romantic about it.
Whether it's the experiments on 'MythBusters' or my earlier work in special effects for movies, I've regularly had to do things that were never done before, from designing complex motion-control rigs to figuring out how to animate chocolate.
Were in this transition period of figuring out how to deal with all the new technology that is out there, but television still proves to be the granddaddy of them all.
I went to the four levers. None of them were marked. There was only one way to figure out which one was the right one. I had to call upon all my Traveler experience and special powers to figure it out. It's called...Eenie, meenie, miney...mo!" -Bobby Pendragon
I don't go through a torturous intellectual process to decide what to direct. I know what I want to direct the second I read something or hear a story. I just know when it grabs me in a certain way I want to direct it. And then I spend the next four to six months trying to talk myself out of it, because directing is really hard! But it's true, I know essentially when and what I want to do next... it's an undeniable feeling I get and it's not the same feeling I get when I wind up producing something.
I've made quite a number of movies like Castaway and a few others where I'm the only guy in the movie and the only place to be is right next to the camera in costume ready to go in order to get it. The years, and more specifically probably the four months prior to beginning shooting, is where the big preparation is that the director does because I knew we were going to get on the set. And the good news is, if you're the boss, if it ain't good, you don't use it. You just cut it out.
The 2006 playoffs were such a rollercoaster for me. I was able to lean on God and know that no matter what things were going to work out the way they were meant to work out. I had that trust that allowed me to go into the games without fear. When I prayed before games, I was able to just let it go. When I played in game seven of the Stanley Cup Finals, I prayed more that day than I have my whole life. That was a day that I leaned on the Lord a lot. It helped me to face some of my fears.
There were times where I feel like I was just out there thinking too much instead of just playing instinctual football. It's definitely something that I've been trying to work on here, just go out there and let it run.
