A Quote by Tim Zuck
Making a painting is like having sex for a month or something. Then I go through this period of elation at finishing the work. Then you drop off - you know, 'post-coital man is sad,' as the old saying goes.
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Even when a pilot goes, you shoot it in March or April, and then you have to rush it through post-production by May. If they greenlight it, then you go and there's no time to think about it. And then, you've gotta start shooting in July, so you're off to the races.
I'm sure I can't relate to what females go through in Hollywood, but I do know what it feels like to eat emotionally. To be sad and make yourself happy with food, and then be almost immediately sad again, and then ashamed. Then, you try to hide those feelings with more food.
People who have lived through a war know that as it approaches, an at first secret, unacknowledged, elation begins, as if an almost inaudible drum is beating ... an awful, illicit, violent excitement is abroad. Then the elation becomes too strong to be ignored or overlooked: then everyone is possessed by it.
When an old man and a young man work together, it can make an ugly sight or a pretty one, depending on who's in charge. If the young man's in charge or won't let the old man take over, the young man's brute strength becomes destructive and inefficient, and the old man's intelligence, out of frustration, grows cruel and inefficient. Sometimes the old man forgets that he is old and tries to compete with the young man's strength, and then it's a sad sight. Or the young man forgets that he is young and argues with the old man about how to do the work, and that's a sad sight, too.
Having seen many of my friends go through the trial of trying month after month to conceive, then finally the joy of getting pregnant followed by the heartbreak of miscarriage, I know how lonely and isolating it can be to have to go back to square one carrying that heartbreak with you.
I don't know but a book in a man's brain is better off than a book bound in calf--at any rate it is safer from criticism. And taking a book off the brain, is akin to the ticklish & dangerous business of taking an old painting off a panel--you have to scrape off the whole brain in order to get at it with due safety--& even then, the painting may not be worth the trouble.
Sometimes I get kind of bored if I go like a month or so and I'm not doing anything. At first I'm like, 'Cool, I'll have a little time off and I'll get to hang out with friends,' but then after a little while goes by I'm like, 'Oh,' and I really wish that I could go back and start doing work again.
If you're having trouble finishing a book, it might be that you're trying to fix it as you go. Just finish the story, no matter how terrible you think that first draft is. Then let it cool off. In other words, don't look at it for a while. Then you can rewrite it.
We go through, I think, six different drafts of each script. And then my shooting it is roughly, you know, fifteen percent of the total work that gets done on a show. Then it's all post-production animation after that.
It's just about having faith in what I wrote and following through on the plan and making sure I get the pieces the way that I need them. It's just about executing properly in production and then in post, you know, it's working [with] and trusting my editor, and then also playing the film for people and seeing how they react.
How would you know? Everything’s like sex. It’s the universal metaphor. To pick a lock, let me guess, you have to go slow at first, but then you have to pull off some fancy moves, and you have to stay concentrated, and you have to stick something in something, right?
One drawing demands to become a painting, so I start to work on that, and then the painting might demand something else. Then the painting might say, 'I want a companion, and the companion should be like this,' so I have to find that, either by drawing it myself or locating the image.
If you perform on a stage or you sing a song, it's like you sing your song, and then the words go into the air, and then they go into somebody's body through their ears, so it's kind of like penetrating somebody. It's kind of like having sex with somebody - but, obviously, from a great distance.
My introduction into making records was through a sampler, and that's what I did for a long time. And through doing that over a period of time and kind of coming out of it, I've realized that one of the reasons it works so well for me, one of the reasons psychologically I took to the process so well, was because I'm a problem-solver by nature. If you stick me in a void, I don't do so hot. As soon as there's one little thing to spark an idea, and then I have something to bounce off of - then I'm all right. But until I have that, like in that void, it's kind of hard.
The innovators' spirit of America still exists. However, there is a narrative in America which goes like - you must go to MIT to get your calling card. Or you go to Harvard and then you drop out and then you've made it.
There's a certain time in the core of making a movie from pre-production to halfway through post-production I don't read any project, my agent will tell people that "he's not reading." And then when I know how the movie's probably gonna work halfway into post-production, I'll come along.
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