A Quote by George Wendt
I'm sure there has been something ridiculous [to sign], but nothing springs to mind. You have the usual things like breasts and such.
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I am trying to make sure that I don't spend on ridiculous things, so that after all this YouTube thing goes, I'm not left there, like, 'Uh oh, I have nothing.'
Sure, you can do something frothy and ridiculous, but you should probably be confident that it's going to be a sure-fire hit. Then it's sensible, because it enables you to make smaller movies. But if you make something frothy and ridiculous that doesn't work, it's not worth it.
It would be ridiculous to talk of male and female atmospheres, male and female springs or rains, male and female sunshine....How much more ridiculous is it in relation to mind, to soul, to thought, where there is as undeniably no such thing as sex.
A sign, or representamen, is something which stands to somebody for something in some respect or capacity. It addresses somebody,that is, creates in the mind of that person an equivalent sign, or perhaps a more developed sign. That sign which it creates I call the interpretant of the first sign. The sign stands for something, its object. It stands for that object, not in all respects, but in reference to a sort of idea, which I have sometimes called the ground of the representamen.
I don't understand all these breasts right now, and they don't look like breasts. They look like someone's taken a grapefruit half and inserted it under your skin. I mean it's - it doesn't even bear any resemblance to what a natural breast looks like. But we're starting to think that this is what women should like. And young girls are looking at these breasts and thinking, oh, I need to go have my breasts done because they've lost touch with what a real breast actually looks like. I find it fascinating, I find it disturbing.
There's something about a sign-off that seems predictable. I just say whatever comes to my mind, to the pleasure and horror of the control room, I'm sure.
There are many things in this world that are an outrage, to be sure, but death at our current life expectancy doesn’t strike me as one of them. Maybe I sound like some Victorian who felt that forty years ought to be enough for any man, but one of the marks of a life well lived has to be reaching a state of finally getting it, of not needing more, and of being able to sign off with something approaching peace of mind.
Life and death are nothing but the mind. Years, months, days, and hours are nothing but the mind. Dreams, illusions, and mirages are nothing but the mind. The bubbles of water and the flames of fire are nothing but the mind. The flowers of the spring and the moon of the autumn are nothing but the mind. Confusions and dangers are nothing but the mind.
I liked unique setups. Like when we started coil-binding springs or running soft springs, those things really felt good to me.
I'm not sure, exactly, why someone would want to move to S.F. or N.Y.C., even. I would only wanna live in L.A. or a tiny town like Provincetown or Palm Springs or Guerneville or something like that.
Things on a very small scale behave like nothing that you have any direct experience about. They do not behave like waves, they do not behave like particles, they do not behave like clouds, or billiard balls, or weights on springs, or like anything that you have ever seen.
A very beautiful young woman once asked me to sign her breasts. That was back when I was a hip young thing - it's been all downhill since then.
I sign every autograph I can for kids because I remember myself at that age. I think it's ridiculous that some guys won't sign for a kid.
I found myself desiring and knowing less and less, until I could say in utter astonishment: "I know nothing, I want nothing." Earlier I was sure of so many things, now I am sure of nothing. But I feel I have lost nothing by not knowing, because all my knowledge was false. My not knowing was in itself knowledge of the fact that all my knowledge is ignorance, that "I do not know" is the only true statement the mind can make....I do not claim to know what you do not. In fact, I know much less than you do.
It's far easier to write why something is terrible than why it's good. If you're reviewing a film and you decide "This is a movie I don't like," basically you can take every element of the film and find the obvious flaw, or argue that it seems ridiculous, or like a parody of itself, or that it's not as good as something similar that was done in a previous film. What's hard to do is describe why you like something. Because ultimately, the reason things move people is very amorphous. You can be cerebral about things you hate, but most of the things you like tend to be very emotive.
What I find is that the taking, the stealing, the appropriation of images has to do with prior availability, and it sets up a degree where things can be shared... It's like 50% off... You can let something of another emotion or another personality sign on your work, or co-sign it.
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