A Quote by Skip Bayless
Ochocinco had a rare instinct for making himself an almost daily story.
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150 years ago in [Charles] Dickens's time there was at least a sense of craft. So some of the things people had inside of them, they had the possibility of expressing in the making of things - even in a daily way with their clothes or their food. People made a good deal of both themselves. Now our daily lives are almost all consumption. Craft plays a tiny role.
I noticed at once that Depp had a dangerously energized intelligence . . . He was a suave little brute, but he had a wicked sense of humor and a rare instinct for escalation.
It is just man's turning away from instinct--his opposing himself to instinct--that creates consciousness. Instinct is nature andseeks to perpetuate nature; while consciousness can only seek culture or its denial.
My first instinct was to cast as close to the short story as possible, but then I realized that I needed actors who could go for it and that they had to function well as a couple in a love story.
I've very rarely worked with somebody that had such a clear idea of what Alejandro Amenábar wanted to do and what he wanted to achieve. The guy is incredibly prepared. He was clearly making a movie for himself and his own dream. I just tried to be a part of that dream. It's a rare opportunity.
A child's instinct is almost perfect in the matter of fighting. The child's hero is always the man or boy who defends himself suddenly and splendidly against aggression.
After we finished 'Toy Story 2,' we talked about going right into making 'Toy Story 3,' because we had an idea that we thought had some promise. But there were a bunch of boring contractual problems going on between Disney and Pixar at the time that kept us from making the movie.
He [Mark Webb] is very savvy, technically, he's shot so many videos, he knows how to get what he wants. The surprise, of course, is that he's also an extremely humanistic story-teller. He's obsessed with story and character, and not just making it look right, which is a double-thred that's rare in directors.
An honest self-portrait is extremely rare because a man who has reached the degree of self-consciousness presupposed by the desire to paint his own portrait has almost always also developed an ego-consciousness which paints himself painting himself, and introduces artificial highlights and dramatic shadows.
Every field piece I did on 'The Daily Show' was a story that lasted five to six minutes. We had a protagonist, we had an antagonist and often put them at odds. We knew the story we wanted to tell before we went in, and often it was about plugging whatever character you have - in this case, a real person - into said part.
For many years, people have encouraged me to share my story. Prince was loved the world over, but few knew him intimately. And ours was a rare, almost otherworldly connection.
I've been making films with almost no dialogue (laughs), so sound and music become a very powerful character to tell the story. It's almost like with sound and music and images, it's your tool to tell the story, especially when I decide to structure the film in a way that usually goes against the conventions of the three-act structure which most films are made out of.
It's gut instinct that helps me determine how to write a story. I love the surreal because I am faced with the challenge of making the unbelievable believable. That challenge is thrilling.
His [Thomas Edison] method was inefficient in the extreme, for an immense ground had to be covered to get anything at all unless blind chance intervened and, at first, I was almost a sorry witness of his doings, knowing that just a little theory and calculation would have saved him 90 per cent of the labor. But he had a veritable contempt for book learning and mathematical knowledge, trusting himself entirely to his inventor's instinct and practical American sense. In view of this, the truly prodigious amount of his actual accomplishments is little short of a miracle.
The Journal is not essentially a confession, a story about oneself. It is a Memorial. What does the writer have to remember? Himself, who he is when he is not writing, when he is living his daily life, when he is alive and real, and not dying and without truth.
Every story I do is about people. It's my survival instinct - one person, one story.
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