A Quote by Tim Wu
When you decide to like something, I mean, you may feel you're sort of innocently putting out your preferences, but actually you're delivering something of enormous value, which is indicating that, you know, you'd essentially like to be advertised to by this company.
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I guess I don't really know any other way to do it, it just feels like the natural way to do things for me. Like - if I'm writing a song - it has to have some sort of value. Or it only has some kind of value to me, if it's something really personal. It has to mean something to me. I guess it is a little uncomfortable, or it's a little embarrassing sometimes, to know that stuff that honest is out there. But, when I hand off the thing, when it's totally done and mastered and sent, I kinda feel like it doesn't belong to me anymore.
When you feel like putting something into your picture or do not know what is the matter with it, take something out.
I find that getting something on the screen as soon as possible really helps focus the problem for me. It helps me decide what to work on next. Because if you're just looking at that big to-do list it's like, eh, I don't know which one I should do—does it matter which one I do? But if there's something you can actually look at, even if it's just the debug output of your mailbox parser, it's like, OK, there!
He misses the feeling of creating something out of something. That’s right — something out of something. Because something out of nothing is when you make something up out of thin air, in which case it has no value. Anybody can do that. But something out of something means it was really there the whole time, inside you, and you discover it as part of something new, that’s never happened before.
Theatre artists are essentially sort of charlatans and thieves, I mean that's the tradition that we come from, so I have absolutely no, I make no bones about the fact that I steal from here and I take from there, and we all do it, that's perfectly all right, that's the nothing, there's nothing new in the world, there's nothing actually new in the way that you do something, but the point is is how do you take something and use it to articulate what is essentially a core of any given theatrical production.
Well, well-run companies always have a focus on growth and the two lines, which includes profit. The key thing during, I think, tough times, is to make sure that you've covered the basis for when something, you know, essentially things taking longer, bad luck, adversity, other kinds of circumstances may occur. Make sure that you can monitor to win, it's potentially, you know, something is going to go wrong, monitor early enough, and then take appropriate action to essentially counteract that or shift your strategy or plan, even if in fact something is not working out as well as it is.
Maybe there is a sort of a sweet middle ground there, where you can do something with something with like 20 to 40 million and do something which is much more character driven, but still create a sort of visual spectacle around it. That is what I'd like to do.
I guess I feel like; if you're doing something and people are accusing you of appropriating something like that so obviously, then I would feel like I've failed as a creative person. It's just like stealing something and doing some sort of slight alteration to it - I'd feel like I'm not doing my job as a musician, or as a creative person - if it's just obvious like that.
I can't not have something attached to like what actually happens in real life. Like I can't do a romantic comedy without there being something where like, in the case of Annie Hathaway's character, her character ends up having Parkinson's, you know? To me, I feel like that's love, you know? Like to me. So every movie has to have that kind of sense of that.
I think a lot of people feel like they still have something to prove, because when you get in and you're chasing success, you always feel like you have something to prove. But at this point, I feel like an underdog, and I actually like being in that position.
What I wanted to do was drown something enormous, like a Star Trek or Star Wars kind of space opera-type thing, but actually make it about someone who was just married to the wrong guy, and that guy just happens to be this amazing dictator, and she has to get her kids as far away as possible from this guy. So something that could almost be a TV movie, if you'd ground it and set it in Wisconsin or something like that, but to give it this enormous setting.
If you're a poet, you do something beautiful. I mean, you're supposed to leave something beautiful after you get off the page and everything. The ones you're talking about don't leave a single, solitary thing beautiful. All that maybe the slightly better ones do is sort of get inside your head and leave something there, but just because they do, just because they know how to leave something, it doesn't have to be a poem for heaven's sake. It may just be some kind of terribly fascinating, syntaxy droppings--excuse the expression. Like Manlius and Esposito and all those poor men.
I don't think bands should feel compelled to speak out unless they actually have something to say. I think that's a big mistake, where you're turning into a coyote running off the edge of a cliff. Too often, people just feel like something is happening and they want to be part of this thing, and it's just, there's sort of a "me too!" and that's about it.
If you don't feel like you're ready to get your license - just because people are putting pressure on you, don't feel like you have to rush into something. Take your time, really feel confident and be ready. It doesn't matter what other people say, do what's best for you and makes you feel safe.
I like it when girls are screaming for me. It makes me feel really player-like. I enjoy being out there, delivering my songs, and putting a face to the music.
I didn't really because I know myself well enough to know that if I actually sit down and think about sort of I can spook myself out like anyone, you know? It's sort of like you've got to sort of jump out of the airplane when you're skydiving. If you spend 20 minutes sitting on the lip you probably won't do it.
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