A Quote by John Katzman
I am always making sketches of how information should look or mapping out a marketing campaign. When I present my notes, people start responding to them. Desktop publishing makes everything look slick. When you present sketches, it helps start the dialogue and collaboration.
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People get this very romantic vision of a fashion designer who in one night makes 25 sketches and in the morning throws them on the table and there are a lot of women in white aprons with the pins on the lapel and they start to grab the sketches and... It's not like that.
I carry a notebook full of sketches of pictures I want to take - they are really scruffy sketches, but at least I am going out there with a clear objective.
I had PubLIZity, I had Oh, Hello, I had Bobby and Farley - all of these sketches that were really these duo sketches, but the relationship between them is really what catapulted them forward. A lot of that, I think, came from Wayne and Garth, these two similar guys - they're Midwestern metal guys - but in the end, they're quite different because there's an alpha and a beta. And I think that model became very present for me on Kroll Show.
Conservation destroys the present. If we are only busy preserving the past, we are not living in the present and unable to look forward. I am against conservation. We should let young people move forward, whether we agree with them or not. We should let new things happen.
You are daydreaming about the future because you have not tasted the present. Start tasting the present. Find out a few moments where you are simply delighting. Looking at the trees, just be the look. Listening to the birds, just be a listening ear. Let them reach to your deepest core. Let their song spread all over your being.
I am a role model now, young people see what I am at present. People look up to me now I am playing for Burnley and it is frustrating that what happened in the past gets brought up to look like it is the present.
I believe in sketching because there is something very sensitive in sketching, you know, in sketches that you don't have out of a computer that looks the same like everybody even if, later on, the dresses are OK, but I like to sketch, and I like to see trails made after my sketches that look the same. It is you know, what I like.
Dysfunctional co-dependent relationships always appeal to me. I don't know exactly how it started. I start writing sketches of characters and little scene-lets, and then it builds.
Let’s think of reverence as awe, as presence in and openness to the world…Try walking around with a child who’s going, ‘Wow, wow! Look at that dirty dog! Look at that burned-down house! Look at that red sky!’ And the child points, and you look, and you see, and you start going, ‘Wow! Look at that huge crazy hedge! Look at that teeny little baby! Look at the scary dark cloud!’ I think this is how we are supposed to be in the world – present and in awe.
People always ask me how I start a collection, and I tell them that I just look around. What am I tired of? What am I in the mood for? Real fashion change comes from real changes in real life. Everything else is just decoration.
My biggest fear is expending the best and most exciting energy in sketches, no matter how quickly executed. I often need to empty the rubbish bin several times before regaining the fresh quality of the initial exploratory sketches.
I'm making strides to have dialogue with life. I'm walking down a garden path, something like that. And you're looking at the trees, and then you start to look at them through your inner eye.
When Tim asked me to do Frankenweenie, he had his original sketches from before he did the short, of what Sparky looked like, and he drew Victor and some of the other crucial people. The remarkable thing about working with Tim is that, once he's read a script, he sketches out everybody else.
Every time I start thinking the world is all bad, then I start seeing people out there having a good time on motorcycles. It makes me take another look.
Each time you present a tour, you're faced with these questions of, 'How do you want to present visual information? How do you want to take the music that we're making on stage and visualize that?'
The minute you start arming people in these conflict zones, things don't go as expected. We also need to look at precedent before making these decisions. Instead of listening to Muammar Qaddafi's rhetoric, we should look at how he's behaved. The fact is he's been making concessions recently. He gave up his nuclear weapons. He allowed hundreds of Americans to evacuate Tripoli. Did he crack down on his people who revolted? Yes, but that's not so unusual.
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