A Quote by Roger Ailes
It also has to do with how you look and how you sound. If you look like a mean SOB who's putting the other person down, that's different than if you're inquiring about the process they go through to make a decision on behalf of the public.
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Frankly, I get much more sensitive about what's written about me than how I look in a photo. I'm so used to people seeing my image in plays and films that what they think about how I look is none of my business. If they says, "Hey, he doesn't look good," I'm like, Whatever, because I know I look different from day to day. But if you're up there putting your heart into something and people reject your performance, that's very painful. The written word can kick your ass.
I'm usually more concerned with how things sound than how they look on the page. Some people write for the page, and that's a whole other thing. I'm going for what it sounds like right away, so it may not even look good on the page.
To spend any time with someone who is among the top five film composers of the last 50 years is pure gold dust. I mean, not necessarily stylistically, because everyone is different in what their music sounds like, but the approach and how to look at a film, how to think about a film, how to decide what you want to do, how to think about characters, how to think about art, how to think about narrative, how to liaise with producers, how to liaise with directors.
I really focus on process as much as anything else: process for how we evaluate players, process for how we make decisions, process even for how we hire people internally, process for how we go about integrating our scouting reports with guys watching tape in the office.
I hope that folks that look like me, regardless candidly of their political affiliation, not only look at me and say that, you know, I want to vote for him at the ballot box, but also make the decision that perhaps they want to put their name up for public service and for public office.
I want to tell girls, it's not about make-up and how you look that's important; you are so much more than how you look.
I'm actually not so sure what I'm hoping to find making photographs. You always want to come back with an image that's interesting visually, and you hope to get something from the person you photograph that's different than other images you know of these people. I don't know how I go about it. I also don't know how exactly what I set out to get other than these two things.
Once Brexit is delivered, we then need to think about how we can make the Conservatives look new and sound different.
Sound doesn't always have to be heard. Sound can also be created by how a pattern is set up on a surface- how it moves across the surface, how light reflects the surface [and] can generate a feeling. Sound can also be through feeling, through color, through texture.
Cute's good. But cute only lasts for so long, and then it's, 'Who are you as a person?' Look at the heart. Look at the soul. Look at how the guy treats his mother and what he says about women. How he acts with children he doesn't know. And, more important, how does he treat you?
When you are writing a spoken word poem, the tools you're working with are your voice, your body, how it's going to sound to someone when you're saying it out loud. Which is different from when you're writing it on the page. That toolbox becomes how does this look visually on the page, how does this read among pages, how is this in relation to poems that are before it or after it. I don't think one is better or more successful than the other. You've just gotta think about "what are the tools I'm using, and how are they most effective in this form?"
They are not happy out there. Take a walk today and look at how many people smile. Look at how troubled they are, unhappy, stressed out. Go through the ghetto or go through Beverly Hills.
You know, when you think about it, that’s kind of a weird thing. I mean it’s meant to be sympathetic, right? But it’s kind of not. Like you’re telling the person there’s nothing unique about what they’re saying I considered this as a couple of kids on Rollerblades whizzed past, hockey sticks over their shoulders. “Yeah,” I said, finally, “but you could also look at it the other way. Like no matter how bad things are for you, I can still relate.
The digital process gives me total control over how I want the film to look. The films look like they did when I was first looking through the viewfinder.
Everyone always tells you about how amazing recording their first album was and how they'll always look back on the 'process' with fond memories. I will look back on it as an extremely stressful time that somehow also managed to be extremely boring.
I've often tried to describe how memory works. I've suggested this to students, and told them to close their eyes and try to remember what I look like. Then I ask them if they remember what I look like. But when you open your eyes you will be surprised how different what you thought I looked like is to what I actually look like. Because the imagination is a different raw material from actual vision. Memory is very different from the thing itself.
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