A Quote by Daniel Simon

You know, boy versus girl. But she's a tough warrior, so I almost treated it like unisex. But it makes a difference how tall the actors are, because I needed to know that if Olivia Wilde sits in a car that the director, Joe Kosinski can still get the angle he wants, as opposed to maybe in another vehicle than Jeff Bridges has to sit in. So that was fascinating. Because in a real car you change everything and adjust it. But here you have one shot.
We were watching 'Madagascar' and Carmen asked me, she said, 'Is the zebra a boy or a girl?' and I said, 'He's a boy,' and she said 'How do you know?' and I said, 'Because I know him. I actually know all the actors that are doing the voices.' And she looks at me and she's like, 'You know a zebra? You know a talking zebra?'
It’s what non-car people don’t get. They see all cars as just a ton and a half, two tons of wires, glass, metal, and rubber, and that’s all they see. People like you or I know we have an unshakable belief that cars are living entities… You can develop a relationship with a car and that’s what non-car people don’t get… When something has foibles and won’t handle properly, that gives it a particularly human quality because it makes mistakes, and that’s how you can build a relationship with a car that other people won’t get.
The Work reveals that what you think shouldn't have happened should have happened. It should happened because it did, and no thinking in the world can change it. This doesn't mean that you condone it or approve of it. It just means that you can see things without resistance and without the confusion of your inner struggle. No one wants their children to get sick, no one wants to be in a car accident; but when these things happen, how can it be helpful to mentally argue with them? We know better than to do that, yet we do it, because we don't know how to stop.
I could see myself in a relationship with a girl - Olivia Wilde is so sexy she makes me want to strangle a mountain ox with my bare hands. She’s mesmerizing.
I was starting to see that what looks like garbage from one angle might be art from another. Maybe it did take a crisis to get to know yourself; maybe you needed to get whacked hard by life before you understood what you wanted out of it.
I know how a cinematographer wants to be treated by their director, and so I already have a leg up in that department, and I know what would be insulting to say to a DP because I've been one for so long.
Because, we assume, these days, you just get in a car, you turn the key, and woosh, you're up the road. Or even now, dare I say, you don't turn a key; you get in a car and you're up the road. And yet with this particular car, it was a five-step process to start it. So how do I let the reader know that?
Breakfast Club was great because we had a real rehearsal, and we shot primarily in sequence. I thought that was going to be how movies were done. I didn't really know how lucky we all were. We had a director that liked actors. I didn't know that was going to be rare.
You can know or not know how a car runs and still enjoy riding in a car.
There's so many bits on a car these days it's hard to know where everything is. You have a bit of an idea but if you are behind someone and you suddenly change direction it's hard to know exactly where the car is.
The things that don't happen to us that we'll never know didn't happen to us. The nonstories. The extra minute to find the briefcase that makes you late to the spot where a tractor trailer mauled another car instead of yours. The woman you didn't meet because she couldn't get a taxi to the party you had to leave early from. All of life is a series of nonstories if you look at it that way. We just don't know what they are.
Every lap I'm learning more about an IndyCar, because it's not an easy car to learn. It's tough to get your head around it and know how to use it in the best possible way.
Now. Maybe you think it is arrogant or self centered, or ridiculous for me to believe that God bothered to wiggle a cheap bolt out of my new used car because he or she needed to keep me away for a few days until just the moment when my old friend most needed me to help her mother move into whatever comes next. Maybe nothing conscious helped to stall me so that I would be there when I could be most useful. Or maybe it did. I’ll never know for sure. And anyway, it doesn’t really matter.
I think I feel a car like anybody else can, but maybe what makes me different is that I race so much that I have experience racing with a lot of different crew chiefs. I'm really easy to get along with and me not knowing anything about a race car, I know to just let them do their job.
I'm in trouble if they can't, because everyone's taller than me, and if that's true, that means I can't have any friends! Alison [McGhee] and I look very much like, I was going to say Bink and Gollie, but I meant Mutt and Jeff. We look ridiculous when we walk down the street together, because she's so tall and I'm so short. But yes, tall people and short people can, and should be, friends. I, personally, like being short. I think it makes things easier.
I go on the bus, I walk. A friend left his car recently at my house and I took it out one day just for 15 minutes and it was terrible. You know why? I felt like I was back in LA again. Four or five years ago, when I had a car and I had been out of the city I wouldn't feel I was back until I got in the car, you know. But now I feel off the grid. I feel that I am not part of the culture. And because I don't have a car I don't really go anywhere to buy things. In fact, I have been in a slow process of selling and giving away everything I own.
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