A Quote by Mark Salzman
If you do all that work of figuring out exactly how writing is done, then it's available to you at anytime, and you can build on it. It's like the difference between shooting one hoop and having it go in by accident and saying later, 'I shot a basket,' - and practicing so much you can do it whenever you want.
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There are some filmmakers like the Coen brothers that are very precise. They make shooting boards, they do it shot by shot, and they follow every single line in their own script. They make amazing movies, and I admire them so much, but I can't do that. I have no idea how the movie will exactly be. While shooting, I just try to create an accident that I don't control very well - grabbing things from different sources and ideas, and then having a sensation somewhere that it will make sense.
The difference between microeconomics and macroeconomics is a bit like the difference between biology and medicine. Knowing that certain genes increase the risk of cancer is relatively easy. Figuring out exactly which people will get sick, or how to cure them, is a lot more complicated.
The Internet is about giving the consumer exactly what they want, whether there's an audience of one or 1,000 or 10,000, and then figuring out how to make money on it later.
I first started playing when we moved from my first house to a house that had a hoop out in front. Every day, I was in front of the basket shooting balls. The basket was regular height, and I was about 5 years old.
The difference between transformation by accident and transformation by a system is like the difference between lightning and a lamp. Both give illumination, but one is dangerous and unreliable, while the other is relatively safe, directed, available.
When we shot the first series of Aerobic Striptease, we shot five DVD's, so we slowly put out each DVD and timed it out that they were all done and shot and ready to go. We just started shooting the next series once we felt it was time to work on the next one.
I've been in love with basketball from the moment I shot my first shot, hanging out with my father. When I was a kid I would stay in the gym waiting for my dad to finish practicing. I was just shooting.
The major difference between the big shot and the little shot is the big shot is just a little shot who kept on shooting.
And don't tell me there isn't one bit of difference between null and space, because that's exactly how much difference there is.
When you work with a major label they create their own message for you and a lot of the time that works great, or at least it did back in the 90's but now it doesn't work, so I think as an artist if you learn your own business, like anybody would when they want to start a little restaurant - they'd figure it out and then build it and they work hard - then it could be your own little business that you grew to as big as you want it to be but you had much more control with how to communicate it and how it's cared for.
I object to the hegemony of form in contemporary architecture. We have very advanced technological tools, but ultimately, we create buildings exactly like we used to before: We send the drawings to an engineer and let him struggle with figuring out how to build it.
My God, what do we want? What does any human being want? Take away an accident of pigmentation of a thin layer of our outer skin and there is no difference between me and anyone else. All we want is for that trivial difference to make no difference.
You can use the Internet to find out, from anywhere on the planet: exactly how much coffee is in a certain coffee machine at Cambridge University in England; exactly how many sodas are available in certain vending machines at certain major universities; and much, much more.
When I got my headshots done, there was this woman screaming at me to blow my lips out. She kept saying, 'You want to be like Scarlett Johansson, don't you?' In the shot, my eyes are popping out; I look terrified. I realised I'd rather not get a job than go through pain to be something I'm not.
When you're writing, you're putting thought into what you want to express, and then you come up with it - it comes to you. When you're improvising, it's the same thing. You're writing. You just say it out loud right then, instead of saying, 'You think this might work?'
Whenever I've done jobs, whether it's an acting job or writing job, there's an aspect of it that feels like you help build your piece of it, and then you watch as someone takes it, and they finish building it.
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