A Quote by Jamie Hyneman
When I'm problem-solving with something, I have, effectively, a CAD program in my head that's like a room that has specific qualities to it that I go to some deal of effort to populate. Textures and smells, something like that.
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I would think that would be really liberating to play like a real cad or a villain or something like that, and that's something I haven't gotten the chance to do a lot.
I have a specific set of, I have a specific sort of negative energies to deal with that might be specific to me, but it definitely something that all artists have to deal with at one point or another. But I think for me, it's just maybe more specific.
Usually when I'm painting something it takes a lot of focus. I have the room I go into called the white room. In my imagination when I'm really focused I go into that white room and all that's there is me, my painting, and my tools. There's no distraction. When I'm really concentrated I like to have it silent but when I'm doing something that doesn't have to be necessarily perfect, I can just go for it.
It is well known that "problem avoidance" is an important part of problem solving. Instead of solving the problem you go upstream and alter the system so that the problem does not occur in the first place.
What visual information does is it creates priorities. You cannot know with certainty what lies behind something else. There are very few transparent materials in the natural world or the built environment. And so we deal with things superficially, and we deal with what's in front of us, not what's behind our head that we can't see, or to the left or the right. Visualists are often linear and timeline-oriented, whereas the natural condition and the natural way of problem-solving throughout evolution is to be multitasking.
Sometimes it's not like I write very specific, it's more like I add an atmosphere almost to something that might have been quite awkward in my mind from the beginning. Something has happened and I want to force myself to think of it in a more positive way. And then I force myself to write something that convinces me that this is actually something pretty good or something that I learned something valuable from.
He tilted his head to the side, still watching me in that same, disconcerting way. “Some things are true, drunk or sober. You should know that. You deal in facts all the time.” “Yeah, but this isn’t—” I couldn’t argue with him looking at me like that. “I have to go. Wait… you didn’t take the cross.” I held it out to him. He shook his head. “Keep it. I think I’ve got something else to help center my life.
I don't always like to wear perfume - I really like body smells, that's the French in me - but there's something about putting perfume on before you go out that has intention.
Since we don't know with any certainty what specific aptitudes today's students will need tomorrow, we need to ensure they have the critical thinking and problem-solving abilities that extend beyond any one technology or program.
I just feel really good about my accomplishments. I haven't had, like, a party because a deal goes through or something like that. I don't know. I need to develop that - I need to have something that I do when things go right.
What are you?" I whispered. He shrugged again. "Something," he said. "Something like you, something like a beast, something like a bird, something like an angel." He laughed. "Something like that.
The day-to-day microaggressions that we all face, yeah, you have to let some stuff slide, or you go, 'I gotta keep moving; there's bigger fish to fry.' It's something that I still deal with. But I've tried to have the audacity of equality and to follow my heart in those moments where I feel like something is wrong.
Men shop for problem solving. They want something familiar. So if it's a new version of something they understand, they are right there with it and, hopefully, loving it.
I think it's a really big deal to be able to meet people outside the context of something like a conference room or someplace where everything feels like it's formal talk.
If you go into a studio without a set effectively, you've got a blue screen. As a DP you have to light it of what you think it should look like. You don't have any reference of what the background looks like. You might have some concepts, but effectively you're lighting it as what you think it should look like.
If your audience doesn't like something, you should think to yourself, "Well, why don't they like something? Is there something wrong here?" And, if they like something, you should think to yourself, "Why do they like it? What am I doing right here?," and deal with those issues.
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