A Quote by Marc Randolph
It used to be true that to succeed in the creative class, you had to move immediately to where the action was. It was how you made connections, how you got auditions, how you found an audience and funding and some attention for your craft. But not anymore.
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If an audience finds themselves paying attention to how you made your film, you're sunk because that means they're unplugged from your story. What matters is what's unfolding on the screen, not how you put it there. It doesn't matter if it's red triangles or million dollar software if the audience doesn't care.
Neuroscience is exciting. Understanding how thoughts work, how connections are made, how the memory works, how we process information, how information is stored - it's all fascinating.
Meditation is just being delighted in your own presence... where you are not doing anything. The moment doing enters, you become tense; anxiety enters immediately. How to do? What to do? How to succeed? How not to fail? You have already moved into the future.
The true bodhisattva spirit grows out of this personal sense of freedom. You discover that you don't feel so needy anymore. You don't crave another refueling - with shamatha or with other people's love and attention - because you know within yourself how to be free, how to be confident. With this sense of security and freedom, you begin to direct your attention to the needs of others. The compassion expands.
It's the ultimate for me not to see how it's made. I find it vulgar when you can distinguish how something is made. I used to be a student at the Chambre Syndicale de la Haute Couture in Paris, and once I got to go to a Saint Laurent couture show. Everyone was always talking about how fabulous the tailoring was, but I was transfixed by this one particular dress. It was just a piece of fabric, but as the model was walking, you didn't know how she got into it, how it closed, where the seams were, and that, for me, was perfection. It stayed with me as a lifelong vision.
The birth of the search engine, it's nothing new: it's essentially embedded in our literature; it's how ideas relate, how the mind makes connections. I mean, connections are made online through links, and within an algorithm, they're made through degrees of relevancy between different terms.
When I'm working on my characters, that's something I pay a lot of attention to: how their body works, how they move, how they articulate.
I had tried painting, mostly to give myself a greater appreciation of the craft and to inform how I looked at paintings. That led to collaging some of the work I had done on paper, and I found myself mixing in found pieces as well.
I went through some training with a Navy SEAL. I had to learn how to submerge myself underwater and hold my breath, how to move without creating waves, and how to be very stealth.
How much you move affects your strength, your power, your balance, how you look, how you think, how well you withstand the high winds and rain showers of life and how long you will stand. Everyone needs concentrated doses of several kinds of movement to remain functional.
The most crucial thing is to learn the craft: how to string sentences together, how to make your dialogue sound like real people, how to properly pace a story, how to develop interesting characters.
Home economics - kids in school used to be taught how to shop, how to cook from scratch, how to be in control of their diets. Doesn't happen anymore.
Everybody wants to know, 'How do you throw a curveball, how do you throw a slider, how do you throw this and that,' when they can't even locate a fastball. Learn how to control your fastball and then once you've got that, move on to other things.
We didn't have music videos. You weren't an overnight sensation. You had to work at it and learn your craft: how to take care of your voice, how to pace your concerts, all that trial and error.
I was a guy who needed to go to class, because I had some raw talent that I thought was identifiable, when I finally made a decision to be an actor. And yet I wanted to learn how to really do the stuff. You know, 'How do I get to be a serious actor?
I was a guy who needed to go to class, because I had some raw talent that I thought was identifiable, when I finally made a decision to be an actor. And yet I wanted to learn how to really do the stuff. You know, 'How do I get to be a serious actor?'
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