A Quote by Renee O'Connor
And not to mean that I think I'm some special person, but I think we're all here for a very specific reason and once you figure out what that is then you're on the right track and we're all on the ride together.
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You can think as Einstein as much as you want, but when you come in contact with another person as a work unit of some kind, you have to think as one. You have to figure out all the things that you've studied and that your mind is telling you, and then you have to figure out how to make it work as one, or you have a broken down team.
I don't think I've ever googled myself. But I do read some things... I mean, if I know that I was with an interviewer and I kind of figure that he or she got something bad or something good from the interview, then I'll read the piece when it comes out. But other than that, I'd have to have a reason to read it - and, usually, I don't have a reason.
Writing a story starts out as a puzzle in your mind, of "What is it I'm fantasizing about right now that makes me think this is going to be worth years of work?" And you just keep pushing and trying to figure it out, and once you've hit on these resonances... Then as a screenwriter, it can be dangerous if you get too hooked on just finding things that resonate with each other, because then you risk getting into stuff that's too neat, and becomes stifled as storytelling. But you do feel like you're on the right track when you start to have a sense of what goes with what.
If someone uses the amount of time I spend in the public eye as criteria for what my music could possibly mean to them, they probably should take a long, hard look in the mirror and figure out why they need to think they're so special. Because I don't think anybody is that special.
I have a scenario but almost always it's entwined with at least one person to begin with. Then I sort of expand from there and I'm thinking about books novels. I've got these scrolls of paper that I hang up in my office and this is my idea room, my nightmare factory, and I have a big title at the top of the scroll and on the left hand side I have these character sketches on the characters, and then once I figure out who they are I can figure out what they want and once I figure out what they want I'm able to put obstacles in the way of that desire, and that's where plot springs from.
Figure out what you want, how you want to feel, whatever your motivation is, you have to figure it out. That's step one: where do you want to be? The next thing is just trying to get there and cutting yourself some slack along the way. You're going to have days when you veer off your path, then just get right back on. We all have cheat days, holidays, or celebrations, whatever or period when we can't work out as much as we like, and just do the best you can and when you can get back on track, get back on track.
Think binary. When matter meets antimatter, both vanish, into pure energy. But both existed; I mean, there was a condition we'll call "existence." Think of one and minus one. Together they add up to zero, nothing, nada, niente, right? Picture them together, then picture them separating-peeling apart. ... Now you have something, you have two somethings, where once you had nothing.
I think the Republicans starting more and more to ignore President Trump. I think they have realized - it's taken a while, but I think a lot of them have realized there isn't going to be a change, he is who he is, there's not going to be some pivot or some growing in office, and they have to deal with that. I don't think they have come together to figure out how exactly they move forward, but I think they are at least beginning to get a grip on the problem.
The quickest way to defuse fear or insecurity or anger is usually humor. I think comics figure that out quickly, and, once you figure it out, you think, 'Hey, if I can do this and get paid, that would be kind of cool.'
The quickest way to defuse fear or insecurity or anger is usually humor. I think comics figure that out quickly, and, once you figure it out, you think, 'Hey, if I can do this and get paid, that would be kind of cool.
I think that the most important reason to come out is your own sanity; that's above everything else. I think that applies whether you're a public figure or not. The closet is a terrible place to be for the person who's in it.
I sometimes think that as singles it's easy to bind to this mentality that my future husband's going to ride up on a white horse, I'll know that he's the one, and we'll start our life together. That happens to people once in a blue moon. I have heard of that - never really dated anyone and then this person comes along - but it's not probable that that would happen.
My favorite thing about acting is you have to learn how to work with people that you probably would never try to. Some people just aren't supposed to be in a room together, and you have to be in a room with a group of people who might not all get along and you have to figure out how to come together for one thing. That collaboration is special, and people don't get to exercise that. I think that's why people become stubborn, and I think that's why people become uninspired to change. In this job you have to.
I think we left out one of the really important elements contributing to the dynamism of society, and that is the right to privacy. I mean something more than the right to shave in private. I mean the right to join what I want to join, to do what I want to do, or not to do what I might do without giving anyone a reason, either in advance or afterwards. That does not mean that I am seeking for irresponsibility socially.
I can't get very excited about a musician who can do Art Tatum because I've got the Art Tatum records. I want to hear him take that and do something that hasn't been done. And there's enough of that going around that keeps the music very exciting. There's so many great young players coming out. I think we're in some kind of renaissance, especially in the rhythm section. I mean the musicians on drums and bass and guitar are really trying to figure out different ways to bring a rhythm section together.
When I make films I'm very intuitive; I'm instinctive. When you are shooting there's little time to think about abstract ideas, it's about getting things done, getting them right, and trying to channel the energies and get the best of whatever you have on your set. It's only once the film is finished that it's like, "Okay, let's try to figure out what happened." Try to figure out exactly what I did.
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