A Quote by Orson Welles
You know what I did this morning? I played the voice of a toy. Some terrible robot toys from Japan that changed from one thing to another. The Japanese have funded a full-length animated cartoon about the doings of these toys, which is all bad outer-space stuff. I play a planet. I menace somebody called Something-or-other. Then I'm destroyed. My plan to destroy Whoever-it-is is thwarted and I tear myself apart on the screen.
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Now, the big box office successes are superhero stories. It seems there's a lowest common denominator mentality, in terms of movies that are almost purely visual, that anyone can understand anywhere in the world. Good robot, bad robot: they fight. You don't need to know anything apart from that. And then we can make toys that look like that robot - and sell those toys or video games.
Here's what I'll say: some toys should be movies, and some toys should not be toys, and I'd like to believe we know the difference between those two things. The movies that work, work when there is a story there that you can take the toy out of, but when you put the toy in, it becomes an even more amazing experience for whatever reason.
Don't bring your sand toys to the park. That's another bad move. Because I go to the park, and I'm on the Vicodin and a little weed too - let's face it - and I go in there, and my wife's like, 'Bring the sand toys! Bring the sand toys!' And I know what happens every single time: I become sand toy repo man from the eight little kids that run off in nine different directions with my sand toys.
Men are nuts. Young men are crazy. We all love toys. I'm toy oriented. I write about toys. I've got a lot of toys. Hundreds of things. But computers are toys, and men like to mess around with smart dumb things. They feel creative.
I don't play with toys anymore. I mean, I do play with toys, but not like when I was a kid. I don't crash cars into each other, but now I collect certain toys.
I look at other people's lives, and some people feel like they're too old to play with toys. But I still go through the toy section at the store, 'cause there were toys that I wanted when I was little that I couldn't have. So I still get them.
Saturday morning cartoons do that now, where they develop the toy and then draw the cartoon around it, and the result is the cartoon is a commercial for the toy and the toy is a commercial for the cartoon. The same thing's happening now in comic strips; it's just another way to get the competitive edge. You saturate all the different markets and allow each other to advertise the other, and it's the best of all possible worlds. You can see the financial incentive to work that way. I just think it's to the detriment of integrity in comic strip art.
If there is a species which is more maltreated than children, then it must be their toys, which they handle in an incredibly off-hand manner. Toys are thus the end point in that long chain in which all the conditions of despotic high-handedness are in play which enchain beings one to another, from one species to another --cruel divinities to their sacrificial victims, from masters to slaves, from adults to children, and from children to their objects.
It's Marvel's toybox; I'm just glad I'm able to play with the toys and have some impact on what goes on. I didn't create Daredevil, so I'm not about to stand here and say that I'm the only one who gets to play with the toy.
I am a closet toy freak. I started chasing after some things as far as Star Wars toys - some very rare stuff.
(Talking about his first computer) Like all kids we not only fooled around with our toys, we changed them. If you've ever watched a child with a cardboard carton and a box of crayons create a spaceship with cool control panels, or listened to their improvised rules, such as "Red cars can jump all others," then you know that this impulse to make a toy do more is at the heart of innovative childhood play. It is also the essence of creativity.
I think my first impression (of Bix Beiderbecke) was the lasting one. I remember very clearly thinking, 'Where, what planet, did this guy come from? Is he from outer space?' I'd never heard anything like the way he played-not in Chicago, no place. The tone-he had this wonderful, ringing cornet tone. He could have played in a symphony orchestra with that tone. But also the intervals he played, the figures-whatever the hell he did. There was a refinement about his playing. You know, in those days I played a little trumpet, and I could play all the solos from his records, by heart.
When I first became really interested in building furniture, I went to Toys-R-Us, and spent $200 on Transformers toys. By taking the toys apart and studying how they moved, I was able to figure out how to hide a table leaf, what type of contraption I'd need to slide it under the table. I'm a really visual learner.
I've composed a fair amount in my life, and some of them have made it on to the screen, some compositions that I've done, a few. And I like doing that. I had never really considered doing a full-length thing. I've worked with other people creating full-length pieces.
And there were sort of three toys for boys and three toys for girls. And the boys I can remember was, well, there was a Dan Dare Ray Gun. Dan Dare was a sort of a cartoon character. He was just sort of a - he was like a Battle of Britain fighter pilot, only in space.
About tidying up a toy box, you should let your kids experience the selection process by touching all of their toys. It's also important how they throw away their toys. They can earn a stronger sense of valuing things when they throw things away with respect and appreciation.
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