A Quote by Tucker Max
You know, even big-time academics kind of have groupies. Anyone with any sort of fame. So, like, in your micro-world, or in your niche, you're kind of like a celebrity.
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You know how when you're alone with your cat, your cat is kind of silly and goofy and kind of crazy? And as soon as people come over, your cat is like someone you've never met before? You know, poised. That's sort of what it's like working with Jennifer Lopez.
You do find a lot of your time in the West kind of searching for your place in the world - your voice, your identity, like, who am I? Like, what is my reason for being here, you know? And in that same way who am I to be partnered with, you know?
I think you can maintain two tracks. I think you have to. That's what this kind of filmmaking is about. If you're not aware of the limitations of what you're up against... it's like a general: you have to know your artillery and you have to know your infantry. You have to know what you have. You have to marshal your forces and use them well. It comes down to the personal and the intimate, but at the same time you have to have the big picture.
Any time your life is at stake and you can't find even one woman to come forward and say, 'This is a good man,' your problem isn't what kind of woman THEY are. Your problem is what kind of men YOU are.
Some people never find the right kind of love. You know, the kind that steals your breath away, like diving into snowmelt. The kind that jolts your heart, sets it beating apace, an anxious hiccuping of hummingbird wings
It stirs up envy, fame does. People feel fame gives them some kind of privilege to walk up to you and say anything to you - and it won't hurt your feelings - like it's happening to your clothing.
Thoughts come and go. It's impossible to stop your thoughts, but the idea is that the thoughts are kind of like waves on the ocean. That's Jon Kabat-Zinn's big analogy and that this is actually kind of diving under the waves. And you know it's kind of interesting.
I love stock-car racing and NASCAR. I kind of take offense to anybody who has any cross words about it. It's kind of like your brother. You can talk all the crap you want about him, but you won't let anyone else do it.
You know, albums are a funny thing. They're not like an intellectual decision. It's a collection of your kind of musings. Like it's a collection of your diary entries and you pick which one's gonna make the most sense together and you put out a record and you sort of live it.
I don't think there's any kind of preparation for sudden celebrity. I think you almost have this slight nervous breakdown when that kind of media attention happens. I mean, you're doing the same kind of thing that you do all the time, only you have to make these weird adjustments. Like, you're buying a slice of pizza and somebody's outside photographing you which is weird - that's not normal! It's very uncomfortable.
The late '60s and the '70s, a lot of this really beautiful equipment was being made and installed into studios around the world and the Neve boards were considered like the Cadillacs of recording consoles. They're these really big, behemoth-looking recording desks; they kind of look like they're from the Enterprise in Star Trek or something like that. They're like a grayish color, sort of like an old Army tank with lots of knobs, and to any studio geek or gear enthusiast it's like the coolest toy in the world.
Well, it's kind of like that classic sort of trajectory in this kind of movie where there's conflict and they're estranged and they kind of grow to love each other but they don't show it. Then at the end - it's kind of like that. But I think the characters are more interesting than that.
Even in half demon hunter clothes, Clary thought, he looked like the kind of boy who'd come over your house to pick you up for a date and be polite to your parents and nice to your pets. Jace on the other hand, looked like the kind of boy who'd come over your house and burn it down just for kicks.
Bob Dylan had been a big sort of presence in my life but I'd never quite registered what he was trying to tell me. He was always this kind of figure, a sort of bear-like figure in the corner of the room. You know, every time I imagined what Bob Dylan looked like, he looked a bit like Steve Earl used to look - with the beard.
Even the shows or movies that we know are not going to change the world, I love this. I love 'em. I'm a movie fan. I'm a nerd of any kind. I love a big studio comedy as much as I love the teeniest tiniest of indie. I'm not a snob in that way. I really do like a big, big studio comedy.
It's an odd kind of feeling because it sort of reminds me of being five again. When you're a five-year-old, you don't pay any attention to what anyone thinks of you. You just sort of are in your skin.
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