Before I'd written movies, I never could do big set-piece scenes with a lot of different speakers - when you've got twelve people around a dinner table talking at cross purposes. I had always been impressed by other people's ability to do that.
I'm not a big fan of kids' movies that have this knowing snarkiness to them or this post-modern take on storytelling. I think that sails right over the heads of most kids. There's something to be said for a well-told fairy tale. There's a reason that...
I think it's dynamite, the way my career has just kept moving, even when people didn't know it did. I made such interesting films, but, yeah, they're not necessarily the big movies that go to the supermarket. I don't need those movies, because I don'...
They make three types of movies, and if you don't make one of those three, you have to find independent financing: It's either big-action superhero tent-pole thing, or it's an animated film, or it's an R-rated, raunchy sex comedy. They don't make mov...
Alvy Singer: Annie, there's a big lobster behind the refrigerator. I can't get it out. This thing's heavy. Maybe if I put a little dish of butter sauce here with a nutcracker, it will run out the other side.
Rumack: You'd better tell the Captain we've got to land as soon as we can. This woman has to be gotten to a hospital. Elaine Dickinson: A hospital? What is it? Rumack: It's a big building with patients, but that's not important right now.
Willie 'Too Big' Hall: You'll never get Matt and Mr. Fabulous out of them high-payin' gigs. Jake: Oh yeah? Well me and the Lord, we have an understanding.
Sheldon Flender: Hey, look who's here. The big Broadway success. I don't write hits. My plays are art. They're written specifically to go unproduced.
Senior Ed Bloom: They say when you meet the love of your life, time stops, and that's true. What they don't tell you is that when it starts again, it moves extra fast to catch up.
[last lines] Will Bloom: That was my father's final joke, I guess. A man tells his stories so many times that he becomes the stories. They live on after him. And in that way he becomes immortal.
Young Ed Bloom: [voice over narration] It occurred to me then, that perhaps the reason for my growth was I was intended for larger things. After all, a giant man can't have an ordinary-sized life.
Ping: [in Cantonese, to Edward who was hiding in the dressing room] Who are you? Young Ed Bloom: [In Cantonese] Please, I'm not going to hurt you. Jing: [In Cantonese] Damn right you're not! GUARD!
Dirk: You're not the boss of me, Jack. You're not the king of Dirk. I'm the boss of me. I'm the king of me. I'm Dirk Diggler. I'm the star. It's my big dick and I say when we roll.
Hamilton Swan: I'm now a big old tchai tea latte soy milk kind of guy. Meg Swan: Mmm. Soy. Because of the lactose. You're lactose intolerant now.
I'm a fan of characters wherever they come from. Truth be told, I wasn't a big comic book fan growing up. Maybe that helps me bring a fresh perspective to things because I'm not trying to match anything that's been done in the past.
Even when I do really big pieces, I do them strips by strips - so you have to paste, you have to involve people. It's a whole process. And I like that. For me, that's where the artwork is.
Big companies, which spend tens of billions of dollars annually on 'call centers' to take orders and provide customer support, increasingly rely on speech recognition not just to handle requests for information but to process customer orders.
When I was a kid, I always had a big thing for Dannii Minogue. Initially I liked Kylie, but I quickly moved on to Dannii. There was always something more alluring about her. I think I actually wrote to her asking if we could meet.
The first things I remember drawing were battles - big sheets of paper covered in terrible scenes of carnage - though when you looked closely, there were little jokes and speech bubbles and odd things going on in the background.
When a big event happens, people turn on to CNN, not only because they know there will be people there covering an event on the ground, but because they know we're going to cover it in a way that's non-partisan, that's not left or right.
For me N.M.E. was a very big thing. When I first came to the United Kingdom I started taking pictures for them and I became their main photographer for five years, and that's really been the basis of everything I've been doing since.
