A Quote by Randy Falco
Back in 1975, we were making all the decisions about what people were going to watch.
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Go back to the Bible, the Old Testament. I mean there were people who we would call intelectuals, there, they were called prophets, but they were basically intelectuals: they were people who were doing critical, geopolitical analysis, talking about the decisions of the king were going to lead to destruction; condemning inmorality, calling for justice for widows and orphans. What we would call dissident intelectuals. Were they nicely treated? No, they were driven into the desert, they were imprisoned, they were denounced. They were intelectuals who conformed.
It was so strange because I thought Washington was going to be so grown-up, and everyone was going to be so nice. Then people were saying to me, 'Watch your back in D.C.' Why? Really? I have to watch my back in D.C?
You can never predict what an audience is going to respond to and what they're going to watch. What we always knew was that we were making something that we were proud of and that we thought was important, and we hoped that people would feel the same way.
In one hundred years time people will look back and think 'these people were really worried about the environment, they were looking at things to do with global warming, and this is why they were making work about these issues'.
It's hard to describe to people how terrible it was when you could only watch cartoons at a certain time in your life. But no, I would watch all of them - the Warner Bros. cartoons and the Bugs Bunnys and then the Tex Avery stuff. Looking back on it, they were so incredibly subversive for their time. You'd think, "Oh, they're just making jokes and this or that." But when you watch them as an adult, you think, "Oh no, they were talking about some pretty deep stuff."
Bret and I were friends, but we were young, and we made bad decisions. We couldn't see outside the wrestling business. It was the end-all, be-all. You were in that box constantly, so that's all you thought about. It affects your decision-making.
Gareth [Edwards] was very much about including everyone in what we were making, so he would cut together different scenes to show us what we were making. And the crew, cast, everyone would go into a theater there at Pinewood Studios and watch 10 minutes of what we were making. It was always so exciting. It looked amazing, and the music was huge.
What are the odds that people will make smart decisions about money if they don't need to make smart decisions--if they can get rich making dumb decisions? The incentives on Wall Street were all wrong; they're still all wrong.
Developing games for the PC and consoles is all about everything and the kitchen sink. In many ways, you don't have design decisions to make. You do it all. So I enjoy going back to making decisions about what's important as I'm working on a game.
Addictions [...] started out like magical pets, pocket monsters. They did extraordinary tricks, showed you things you hadn't seen, were fun. But came, through some gradual dire alchemy, to make decisions for you. Eventually, they were making your most crucial life-decisions. And they were [...] less intelligent than goldfish.
There were days when I would feel extremely nervous and insecure, wondering if I was making the right decisions and going about my career correctly.
I heard that a lot and I just sort of thought, the world was an even more interesting place than the people who were making the decisions were perhaps interpreting it to be.
Well, going way back, when we were making short films, it was just the two of us. Literally, Anna had her little camcorder and I had the boom and we were making documentaries.
That's a spiritual lifestyle, being willing to admit that you don't know everything and that you were wrong about some things. It's about making a list of all the people you've harmed, either emotionally or physically or financially, and going back and making amends. That's a spiritual lifestyle. It's not a fluffy ethereal concept.
I did two movies that were arthouse movies; they were critically successful but made no money at all... but after making those movies, I thought, 'I wouldn't watch my own movies when I was 16, and my buddies where I came from wouldn't watch my movies, because they were boring.'
I was the last one of nine kids - eight girls and me last - and my sisters were going out. They were teenagers. And as they were getting ready, I would sit on the bathtub and watch them put on makeup and transform themselves - you know, putting on clothes and giggling about the boys they were going to meet and everything. So for me, that was an amazing thing - the fact of transforming themselves.
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