A Quote by Sam Kean
We really should be grateful to the people who participate in research and allow certain details to be published about themselves. Because if they didn't, we wouldn't have nearly the understanding of the brain that we do.
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Moore's Law is really a thing about human activity, it's about vision, it's about what you're allowed to believe. Because people are really limited by their beliefs, they limit themselves by what they allow themselves to believe about what is possible.
Neither should the theater in our country be regarded as a luxury. It is a necessity because in order to make democracy work the people must increasingly participate; they can't participate unless they understand; and the theater is one of the great mediums of understanding.
When I grew up, feminism wasn’t something that was really talked about. There’s a really negative stereotype about feminism in the media. That really plays badly for young women understanding the movement. Maybe people don’t want to identify themselves as feminists because of the label. But people need to understand what feminism means and educate themselves before they reject it.
I think a lot of people are involved in art because of the fashion of art and the conversation. It gives them a certain sophistication, something to speak about. But art is, if it's conceptual, really about understanding the concept. And if it's beautiful, it's about seeing the beauty. It's gone much further than that now. There's too much commercialism attached to art. If the market cracks one day big-time, you'll frighten so many people away who will never come back. Because they don't really feel for art. People who buy art should want it because they love it, they want to enjoy it.
I'm feeling really grateful. I'm feeling grateful that I've been able to participate in this game for as long as I have. I'm feeling grateful that I've been able to tell my stories. I don't know that my mom and dad are that grateful, or Carey [Hart, Pink's husband], but it's been good for me. I'm grateful if I've kept one girl from feeling different or ugly or unempowered.
The more people participate in the process of their own education, and the more people participate in defining what kind of production to produce, and for what and why, the more people participate in the development of their selves. The more people become themselves, the better the democracy.
I don't beat at the details, but I do always keep in mind that anything that isn't A) moving the story forward or B) enlarging my understanding of the central characters has to be sacrificed. I have huge folders of details - research - with a story like Netherlands. Only a very small part of it gets used. The old iceberg analogy again.
When one admits that nothing is certain one must, I think, also admit that some things are much more nearly certain than others. It is much more nearly certain that we are assembled here tonight than it is that this or that political party is in the right. Certainly there are degrees of certainty, and one should be very careful to emphasize that fact, because otherwise one is landed in an utter skepticism, and complete skepticism would, of course, be totally barren and completely useless.
I think that scripts should be published, but they are published, really, because when you're a screenwriter, your stuff ends up in samizdat form on thousands and thousands of desks and shelves across the industry.
I've always written about people who have very abstracted in a certain way. I write about scientists and artists and musicians. I write about people who live in their heads who are very obsessed about a certain set of details in the physical world.
People will ask me, "How do you approach writing books for young readers differently than for adults?" My answer is always: I don't change anything about the story itself. I'm going to tell kids the way things really were. What I don't do - and this is the only thing I do differently in writing for kids - is that I don't revel in the gory details. I allow readers to fill in the details as necessary. But I don’t force kids to have to digest something they’re not mature enough or ready for yet. If they are, they can fill in the details even better than I could, just with their imaginations.
I've learned that men and women who are living wholehearted lives really allow themselves to soften into joy and happiness. They allow themselves to experience it.
Everything is super personal. Basically all of the songs are 'this is my life and what I feel about it.' That's how my brain works and thinks about things. It's really strange because I never really think about what I want to write about - it sort of just comes out. I literally say whatever is in my brain.
I begin with understanding the intentions of the story. That helps me to zero in. Then I gather research for each individual character and analyze the time period with comparisons to the figure and the facial structure. It helps to be comfortable with computers because the massive amount of research is kept electronically and shared with my staff this way. Very little is printed out. I work with an illustrator to come up with the proper silhouettes and details of the clothing from the time period to time period. And on and on.
I don’t think there is any mystery to understanding the passionate feelings people have for guns. Nobody really believes it’s about maintaining a militia. It’s about having possession of a tool that makes a person feel powerful nearly to the point of exaltation.
I began to understand that there were certain talkers - certain girls - whom people liked to listen to, not because of what they, the girls, had to say, but because of the delight they took in saying it. A delight in themselves, a shine on their faces, a conviction that whatever they were telling about was remarkable and that they themselves could not help but give pleasure. There might be other people - people like me - who didn't concede this, but that was their loss. And people like me would never be the audience these girls were after, anyway.
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