A Quote by Mitchel Resnick
With 'Scratch,' our goal is to allow people to mix together all kinds of media, not just sounds, in creative ways. We want people to start from existing materials - grabbing an image, grabbing some sound, maybe even bits of someone else's program, and then extending them and mixing them to make them their own.
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But the idea of taking things and mixing them together is what I do in my music. I take hip-hop, R&B, pop, dance, funk and soul and mix it all together to get my own sound.
We have Borna virus genes. We're part Borna virus, which is weird, but apparently our cells and our genomes in a weird way might actually be grabbing these viruses, grabbing genetic material from the viruses that are infecting it and pulling them into their own genome.
We buy things. We wear them or put them on our walls, or sit on them, but anyone who wants to can take them away from us. Or break them.
...
Long after he's dead, someone else will own those stupid little boxes, and then someone after him, just as someone owned them before he did. But no one ever thinks of that: objects survive us and go on living. It's stupid to believe we own them. And it's sinful for them to be so important.
Be responsible for what you do. Don't throw trash on the highway, take care of animals, if you see someone in need you help them. That's what I want people to concentrate on instead of just grabbing everything you possibly can for yourself, which is how we're taught in this country.
Some of them [family names] have sentimental value for some reason or another, some of them just sound beautiful. Some of them are because of people that are meaningful to us in our lives. So it's hard to say which one we'll pick. Sometimes they say you have to see the child before you decide. So maybe when we see her we'll make a last-second decision.
Performance shots are a waste of time, they look like everyone else's. If you want to shoot a performer, then grab them, own them, you have to own people, then twist them into what you want to say about them.
I'm not judging the films. People make these connections through a film, or because they know them. But the fact that they erase them and have to start from scratch, I think that's an important point. A lot of kids, when they have a camera, have tended to do remakes of existing films. You have a lot of kids that make Star Wars. And I think that's creativity, but not as much creativity as starting from scratch.
When you are a minority, it's your job to bend, and when you love someone, you really want to make it work. Then you start to realise, 'Oh, I'm bending a lot,' and they're just standing there existing, and I'm bending around them. But you can't blame them: they don't realise it; that's just how they already existed. It's hard.
Loneliness is a hard thing to handle. I feel it, sometimes. When I do, I want it to end. Sometimes, when you're near someone, when you touch them on some level that is deeper than the uselessly structured formality of casual civilized interaction, there's a sense of satisfaction in it. Or at least, there is for me. It doesn't have to be someone particularly nice. You don't have to like them. You don't even have to want to work with them. You might even want to punch them in the nose. Sometimes just making that connection is its own experience, its own reward.
I readily admit it is easy to make of horses what we will. Silent, in some ways reserved, they allow us to train them, and to project our ideas upon them; to ride and drive them, and to make them symbolic, perhaps to a greater degree than any other species.
I feel like if we stopped pushing people away in trying to get to the top, we could work together. My goal is to start with my family and my friends, progressively get better and create opportunities for them to express themselves and become happy people, then have them affect the people they're around. [I want to] create this growing effect of positivity and inspired a willingness to overcome any obstacles that are in front of you, whether it be from our government or from our daily lives.
There are certain songs that are sacred. People want to hear them just as they are in their head; they don't want you messing around with them. And then there are some other songs, if they've been around a long time in our set list, that I think we can take some creative liberties with.
The American people want us to stop spending. And so let's just give them some certainty. Let's extend the tax - the existing tax cuts. And then let's give some more tax breaks to small businesses and large. And then maybe the American people will have some confidence.
My job on a film is to be responsible for all the sounds in the movie besides the music. Together with my team, we work on the dialogue, foley, sound effects, and sound design. We work closely with the director and picture editor in the prep period, and then together with them, the sound mixers, and music crew, we collaborate on the final mix of the film.
Many people came out and said, 'Boy I'd love to make a film that way.' Well, borrow some money, get some people together - you can get people to work for nothing, just treat them right, treat them as human beings, not stars, give them all an equal share, make them feel a part of what they're doing. There's no big secret to it.
We're not going to deputize a whole bunch of American citizens to start grabbing people or turning them in, in part because the ordinary American citizen may not know whether or not this person is illegal or not. But, you know, the notion that we're going to criminalize priests, for example, or doctors who are providing services to individuals, and throw them in jail for doing what their calling asks them to do, which is to provide help and service to people in need, I think that is a mistake. I think that's out of America's character.
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