Most campaigns rely on photographs because the moment you do something that is a graphic interpretation where any artistic license has been taken, I think a lot of people are scared that it's going to be perceived as propaganda.
If you're sitting across the table from someone, the geometry of the situation says 'confrontation.' If you're walking with somebody, you're heading in the same direction, and the spatial dance you're doing is a little more cooperative.
Unless you're involved with thinking about what you're doing, you end up doing the same thing over and over, and that becomes tedious and, in the end, defeating.
There are some ghost stories in Japan where - when you are sitting in the bathroom in the traditional style of the Japanese toilet - a hand is actually starting to grab you from beneath. It's a very scary story.
When you're surrounded by friends and exes, there's a whole lot of stuff that starts crawling out. But however serious and traumatic those experiences may be to the participant, to the onlooker they're hilarious.
The trouble with a series as it gets older is it can feel like a tradition, and tradition is the enemy of suspense, and it's the enemy of comedy. It's the enemy of everything, really. So you have to shake it up.
I think of myself as a writer with a sense of humour rather than a comedy writer. Happy to tell a story with lots of jokes in it - I wouldn't know how to do jokes without the story.
People assume that time is a strict progression of cause to effect, but *actually* from a non-linear, non-subjective viewpoint - it's more like a big ball of wibbly wobbly... time-y wimey... stuff.
The Doctor: 'You know when grown-ups tell you everything's going to be fine, but you really think they're lying to make you feel better?' Amelia: 'Yeah...' The Doctor: 'Everything's going to be fine.
Amy: I never knew you drank wine. Doctor: I'm 1103 I must have drunk it sometime in my life. *takes sip and spits it out in disgust*
River Song: Right then. I have questions, but number one is this - what in the name of sanity have you got on your head? The Doctor: It's a fez. I wear a fez now. Fezzes are cool.
The Doctor: It's my nose; it has special powers. Nancy: Yeah? That why it's so...? The Doctor: What? Nancy: Nothing. The Doctor: What? Nancy: Nothing. Do your ears have special powers too?
Don't play games with me! You just killed someone I like, that is not a safe place to stand! I'm the Doctor, and you're in the biggest library in the Universe. Look me up.
The Doctor: Dr. Song, you’ve got that face on again. River: What face? The Doctor: The ‘he’s hot when he’s clever’ face. River: This is my normal face. The Doctor: Yes, it is.
The idea that I'm going to have to sit down to write some fiction where I'm going to have to think of a plot would really scare me, because it would come out a mess.
I don't really know, I was thinking about that the other day that there aren't a lot of younger up and comers that I'm that interested in, in the comedy world. Everyone seems to be trying to play it safe.
I'm very wary of doing political stuff for a lot of reasons. One of the big ones is that the shelf-life for them is not very long, and the joke becomes old news very quickly.
In fact a favourite problem of [John Tyndall] is—Given the molecular forces in a mutton chop, deduce Hamlet or Faust therefrom. He is confident that the Physics of the Future will solve this easily.
Kids are very sensitive to the value system of their parents, and I just felt my parents were attaching too much importance, too much meaning, to things.
I'm not against the intergenerational function of the museum, I am not against its address or celebration of the individual, but I am against its continuous, unreflected-on celebration of material production.
I want to bring back the human encounter into places where material things have a prime status. In a museum, you're supposed to look at things and not talk to other people.
