A Quote by Michael Dickinson
There's so many mysteries related to how flies are able to make their way through the world. I'd certainly like to know a lot more about how their brain works. I'd certainly like to know a lot more about just how they're put together. I mean, these animals are basically, topologically, spheres. They don't have bones as we do, of course.
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I wanted to be a singer, of course, but there was something about the songwriting, then and now, that is the most important thing. It's how I express myself, how I express how I see things. When I see people struggling with emotions and feelings and don't know how to put it down, I'm able to do that. It's really like a therapy, and it's like a buddy and a friend. It's a way out of a lot of things.
There are lots of cases where we know more about how the world works than we do about how we know how it works. That's no paradox. Understanding the structure of galaxies is one thing, understanding how we understand the structure of galaxies is quite another. There isn't the slightest reason why the first should wait on the second and, in point of historical fact, it didn't. This bears a lot of emphasis; it turns up in philosophy practically everywhere you look.
I mean, what's thematic? How to put it? Going back to, like, 1980, when I started writing poetry. Language itself became an issue. I'd even think about font as an aspect of text, you know, how something looks on a page. A lot of this is the product of a very solitary existence, it's like, language, I mean, you know. A lot of time spent alone in the creation of all of this stuff.
I always feel like I learn more from directors that are new, and I also am able to understand how much I really do know about filmmaking when you work with directors that maybe don't have as much experience, so you're able to sort of take the reins. I know how to do these movies, I've done so many of them and have learned from new directors who are usually willing to try new things and are more open to allowing someone like me to kind of come in and just do what I know how to do.
There is a lot men don't know about women. And I'm not just talking about how you manage to leave the bathroom smelling like a tropical rainforest after you shower or how you're able to walk in shoes that rely on nothing more than the support of two five-inch toothpicks.
You just start going through that process of trying to put together a cast that works. I don't know that I can explain it in a way that you can go, 'Oh.' It's a little bit like saying, 'How would he be with him? How does that feel?'
We still know so little about how the brain interacts with the body chemistry or, for that matter, whether we should be talking about the brain or the mind, that it would be perilous to hazard any guess about the way Abraham Lincoln's biological health may or may not have affected him. Of course, we don't have Lincoln on hand to ask him directly; but even if we did, we still might not be able to make sense of how all the parts worked together.
People ask, 'Why would you cast yourself in your movie?' And, for me, it's more like an achievement that I am now not playing all the parts, you know? Like I was for so long, in all my performances and a lot of my short movies. So, that's where I'm coming from, not out of a kind of actress-y sense of myself. I mean, I don't really see myself as an actress, but more from performance: this is how you make something. You do it yourself. You're in it and you write it. I think I keep doing it that way, 'cause it's my way. It's what makes me feel like I know how to do it.
Recently, my dad has been teaching me a lot - like how to read a script. It used to just be about hockey or baseball or sports of whatever. We don't have glitzy or glamour-y Hollywood-type talk, like, 'Isn't that person great?' It's more about the process of how it works.
I certainly try to avoid getting bogged down in forensics. There is certainly a whole lot of other writers who know a lot more than me about it. I know enough about it to do a little bit of background on laboratory techniques and stuff. But it kind of bores me.
To me, it seems more realistic to my thought process when things feel a little scattered in the lyrics. Being disjointed is not that abstract of a thing when I think about how my brain works - I feel like it's almost more realistic. That's how my brain works.
Any young man coming of age has a lot to go through. Peter Parker certainly has a lot of responsibility, and without doubt, so does Pippin - his role, his life, and how he is going to perform it. It's all about choices and how we make them.
There's not a lot of pretty, young female artists that's out. It's a lot of talent out there, but they don't know how to go about it. I feel like there should be way more sexier women in hip-hop and R&B then it is - more originality.
I'm drawn to talented, creative people who often just don't know how to support themselves - they're more focused on their work than trying to figure that out. So I commission a lot of works with artists who I like personally or professionally, and through that process, I wound up collecting a lot of art.
Certainly businesses the world over are facing greater competitive pressure than ever before, and this leads to executive stress which, in turn, tends to bring out authoritarian tendencies in many bosses. To balance this, we now know a lot more about how we can successfully cope with a situation that is not likely to improve in the near future.
Somebody who knows all about how to make the record, or how to make records, they know how to work the EQ and they know how to work the stuff, but they don't know what I want it to sound like. So it's just easier for me to do it myself.
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