A Quote by Ray Dolby
I think a lot of developments start with the desire of the developer to get what he really wants so that he can use it. It's not just the technical fascination or the business opportunity.
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A lot of people think track, you just run, that's all you do. No. There's a lot of technical aspects to it as well. A sprinter is not just going to get out of the blocks and start running. You do that, you're going to get embarrassed every time.
Here's another way of putting it. Roosevelt wants recovery to start at the bottom. In other words, by a system of high taxes, he wants business to help the little fellow to get started and get some work, and then pay business back by buying things when he's at work. Business says, 'Let everybody alone. Let business alone, and quit monkeying with us, and we'll get everything going for you, and if we prosper, naturally the worker will prosper.'
It doesn't really matter to me whether you start or not. I play a lot of fourth quarters. I think that's what's most important to me. I think that's what I've always cared about, just having an opportunity to finish games when it's really winning time.
We need business leaders who have a respect for technical issues even if they don't have technical backgrounds. In a lot of U.S. industries, including cars and even computers, many managers don't think of technology as a core competency, and this attitude leads them to farm out technical issues.
A lot of people want to start a business, and they're like, 'I wanna start a business, give me some money to invest.' Where is your business plan? Are you investing money yourself into your own business? How is this going to work? People think that they can just come to you with an idea and have money.
And I think that, given the opportunity, somebody could really learn a lot just being around me and the girls because it's really nonstop, 24/7 brainstorming and creativity and just trying to get organized and really pack a lot into a day - being there nonstop with all engines blazing.
Ultimately, going into the consumer market, we really need outstanding content. That was the goal: if we can get the developer kit out at a low enough cost point, then hopefully a lot of developers would show up and start creating content.
You can get really bored in this business [film], and I think that's one of the reasons why I've challenged myself so many times in different areas because you can get really bored and stagnated in one area. So, I do a lot of different things to keep myself occupied. In this business, it's a 'hurry up and wait' business and you have to really wait sometimes in some areas. I just keep myself busy. When one thing stops, the other one is rolling.
In terms of Cube I think he's very conscious of the technical aspect of the business whereas when you're just hired as an actor, you're not really secure in that part of your work and you're not really paying attention to where the camera.
It was never my dream to be famous. I didn't start acting to be a movie star. I started in the theater and my desire was to get better at my craft. It's still my desire. I don't consider myself a movie star, nor do I really have the desire to be one. I'm just an entertainer. An actor who works hard at his craft. Whatever labels people give me, that's not really me or part of my process.
I think that anyone who wants to start their own business can, but not any type of business.
I have no special desire to go crawl around in caves, but I really like the word [spelunking] and want to use it in conversation. I do a lot of things just to use words I like.
Lots of people have asked me what Gracie and I did to make our marriage work. It's simple - we don't do anything. I think the trouble with a lot of people is that they work too hard at staying married. They make a business out of it. When you work too hard at a business you get tired; and when you get tired you get grouchy; and when you get grouchy you start fighting; and when you start fighting you're out of business.
I worked as an assistant editor, actually, for a few years. That was right when I was just starting to get out at night and do a lot of stand-up, improv, and sketch work in New York. It really is invaluable. I think it pounded into me an awareness of what an editor wants and needs, in terms of clarity of a moment, where and when to start and stop a line.
We played around and improvised a ton [in The Hangover], and I think it's hard to say at this point what's what. Gosh, I wouldn't even know how to take a stab at it. The script was so good that we really didn't need to improvise very much, but I think we just found a lot of moments on the set. It's really cool when you get onto the set of a movie and you start shooting the scenes and you start to actually incorporate the environment.
There's a really rough and relatively consistent hierarchy of concerns. My musical interests come first and principally my fascination with how notes and rhythms interlock. Then comes the technical side like programming, instruments and designing instruments. Next is production and mixing and beyond that I start to care less.
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