A Quote by Herbert A. Simon
When computers came along, I felt for the first time that I had the proper tools for the kind of theoretical work I wanted to do. So I moved over to that, and that got me into psychology.
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My work was fairly theoretical. It was in recursive function theory. And in particular, hierarchies of functions in terms of computational complexity. I got involved in real computers and programming mainly by being - well, I was interested even as I came to graduate school.
When I got out of coaching, I had taught a class at the University of California, an extension class on football for fans. I was looking for tools. I was showing them films. I was going to write a textbook. Trip Hawkins came to me about making it a game for computers.
When my sister and I came along, my father's political life was completely over. He ran for president the year I was born. So that was the end of it. He had been congressman first, then governor, before all that. So when we came along, he was running the Dayton newspaper.
When I first started making ambient music, I was setting up systems using synthesizers that generated pulses more or less randomly. The end result is a kind of music that continuously changes. Of course, until computers came along, all I could actually present of that work was a piece of its output.
My first epiphany that this might work came on my first day, when I went into biofeedback. They hooked me up to computers through electrodes, put me in a comfortable lounge chair, put an eye pillow over my face, slipped speakers onto my head and played an audio guided visualization.
Josh had told me a long time ago that he had this theory that an entire relationship was based on what occurred over the course of the first five minutes you know each other. That everything that came after those first minutes was just details being filled in. Meaning: you already knew how deep the love was, how instinctually you felt about someone. What happened in their first five minutes? Time stopped.
When I moved to L.A. and had my first meeting with my agents, they asked me what I wanted for my career. And I didn't speak English at the time, but I did say, 'I wanna be Ryan Gosling as a woman.' So I got very excited to play opposite him.
I and Dil Raju guru have always wanted to work with each other. He had sent to me stories, 4-5 over the years, but somehow, something was not perfect with them. But when I listened to 'Nenu Local,' I felt the time had arrived.
'All Over Me' is a song that I really got fired up the first time I heard it: it just really moved and it really had a lot of energy.
And as a first time director I needed to work with someone that I felt comfortable with, and that I could get along with. It was a perfect match [with Sam Rockwell]; I am so thrilled I got to work with him. He is a really nice and incredible guy.
I've only three times in my career felt I absolutely had to play a part and the first two I got close and was vetoed - by the same person actually. So when 'Strike' came along I had no qualms about signing on for something I was potentially still going to be doing in 10 years.
And I felt more like me than I ever had, as if the years I'd lived so far had formed layers of skin and muscle over myself that others saw as me when the real one had been underneath all along, and I knew writing- even writing badly- had peeled away those layers, and I knew then that if I wanted to stay awake and alive, if I wanted to stay me, I would have to keep writing.
I felt a certain modicum of success because I had been paid well to be an actor for the first time in my life, but I felt like I had done adolescent work on the show, and stepping into the New York theater arena was the first time I felt like I'd come into my own. I felt like I was proving myself in a gladiatorial arena.
I moved to the States from London when I was 12 years old. My father was in a band and wanted to tour, so we moved here, but it wasn't until I moved to Williamsburg and had my son that I felt like I finally belonged.
Every time you play one old-time picture along with today's kind of work, and they throw in the computers and the guns and the this and the that and the God-almighty, it gets to be a hassle and you wonder who the hell's doing what!
When I moved to Dallas, I had two big goals. The first, of course, had to do with basketball. I came here to work hard and earn the respect of the fans. The second goal was more personal. I wanted to put down roots in Dallas. That was one of the upsides of signing a four-year deal.
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