A Quote by Guy Pearce
There's something about the American sensibility that kind of hails people in the public eye. You have a star system. You have that kind of thing where you say, "Good on you for doing that."
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Kind of the exhausting thing about doing pure comedy, or something that's broader, is you're kind of a slave to the laugh. If it's not funny, then there's not much point in doing it. The kind of über-objective is to make people laugh. You always have to have that in the back of your mind, "Eh, I've got to figure out a way to make this funny."
Kind of the exhausting thing about doing pure comedy, or something that's broader, is you're kind of a slave to the laugh. If it's not funny, then there's not much point in doing it. The kind of ueber-objective is to make people laugh. You always have to have that in the back of your mind, 'Eh, I've got to figure out a way to make this funny.'
The thing about markets, and I think the thing people don't understand about that, is markets are not kind, but they're very efficient. So when the marketplace determines an inefficiency in the system, it corrects that, and a market system that's left alone will reward good behavior and punish bad behavior.
I would say that what we called the Pixar sensibility goes back even further. It is kind of a CalArts sensibility because so many of the people who are creative instrumental people at Pixar came from that school.
You can't exceed the system with language. You can only exceed the system with events; recommended procedures that are better. You can't exceed the system by telling people to be good, be kind, be considerate... You have to take away the conditions that makes it necessary for you to be kind. And to be kind, you design highways that aren't slippery; where no accidents, or less accidents, occur. In the future, everybody becomes an innovator - a creator.
The rock-star thing became very destructive, like, wow. I didn't know what I was doing. I just kind of became that thing. The hair, that rock-star kind of lifestyle, just living a dream. It kind of took over. It started out very innocent and then I turned into a cartoon character. And I started to feel like a cartoon character.
I think people got this idea that I wanted to be a star. Managers of the past don't have any kind of public persona - it's all about the fame of the artist. I really don't want to be a star. I just want to have a platform.
Obi-Wan understands that the best thing he can do is contribute something positive to the world around him and then to leave. And if he does that, he will in some ways live forever because the good influence of what he did will be felt. It may sound corny but that's kind of the way I feel about contributing to Star Wars characters. It isn't about me. It's about the story. It's about the mythology of Star Wars and the moral implications of that mythology.
I have no idea what a British sensibility or a British sense of humor is. I have no concept of what that is. I have no concept of what American sensibility is. I was born in Great Britain, but I was only there for six months, and we moved to Belgium, where I grew up. I love Britain, I lived there for nine years doing shows and things, but I don't know what a British sensibility is. I'd like to have someone tell me what an American sensibility is.
I don't know if I ever really think about being a role model. But I guess if you're in the public eye and people are looking at what you do, you do want to be a good role model, and you want to kind of be seen in a good light.
For me, sensibility is the location of talent. Sensibility comes first because only with the right kind of sensibility is talent useful. I've met many people who are extraordinarily talented but have no capacity to go outside of themselves or their field. I love those people, but they would not succeed in our culture.
The only thing I think about is doing something where I'm the only person making all the decisions - I think that would be fun to do, just to get it out of my system. And honestly, I kind of got it out of my system when I recorded three songs and put them online. That was enough of a solo experience for me; it scratched that itch.
Yeah I grew up in the public eye. I became a man in the public eye, which is kind of a bizarre thing to come to terms with. Now I'm in my late 20s and I was in my early 20s when I became recognizable. But I think 'Moneyball' represents a very strong shift in my career and becoming an adult and a man.
So my reason for doing drag, at first it was because I wanted to express this thing I had kind of stored deep down inside of me and now that I've let this thing loose, this monster out into the world and I kind of got that out of my system now.
And one of the things that I'm most concerned about is the confidence, the confidentiality of those kind of meetings between President and Russian Foreign Minister, as you know, are extremely important. And so, I am really concerned about kind of leaks, because it undermines everybody's trust in that kind of an environment where you can have frank, candid, and often times unconventional conversations to try to protect American interests and secure the American people.
New York is all about sort of a corporate sensibility, and it is squeezed out room for any other kind of sensibility, money talks, bullshit walks, I guess.
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