My first recognition of age setting in was exactly on my 36th birthday. I have no idea why, on this day of all days, I looked in the mirror and realized my face no longer looked young.
I took the part in 'Mr. Holland's Opus' because no one had ever asked me to play 'a life' before. I get to age through 30 years. The idea really challenged me.
Not just in commerce but in the world of ideas too our age is putting on a veritable clearance sale. Everything can be had so dirt cheap that one begins to wonder whether in the end anyone will want to make a bid.
'The Polar Express' began with the idea of a train standing alone in the woods. I asked myself, 'What if a boy gets on that train? Where does he go?'
All conservatism is based upon the idea that if you leave things alone you leave them as they are. But you do not. If you leave a thing alone you leave it to a torrent of change.
I have two ideas for novels at the moment, neither of them all that conventional, but I'm not ready to choose between them yet, let alone settle down to the process of writing.
I went to an all-girls school for part of high school, and the idea of boys was amazing to me; like, all I ever wanted to do was kiss boys and be around boys.
I used to say that I didn't want anything to do with e-mail. It seemed really impersonal, complicated and weird. I had no idea what an amazing way it is to reach people.
I love the idea of cooking, but I don't like using recipe books, so I'll put a mish-mash together, and it might be amazing by total accident, or it will be a catastrophe.
One of the most interesting things about the cognitive theory is the idea that anger and interpersonal conflict ultimately result from a mental con. In other words, you're telling yourself things that aren't entirely true when you're fighting with so...
I think what I learned in research is that as Americans, we're very distrustful of anger. We're not sure if we should repress it. The idea that anger is supposed to be controlled is American, and we try to keep it out of our homes.
Winning a competition in architecture is a ticket to oblivion. It's just an idea. Ninety-nine per cent never get built.
I'm not a religious person. But, when I look at a beautiful cathedral, what brings awe, what induces awe is the idea that architecture, you know, a beautiful cathedral, a beautiful building.
Architecture has recorded the great ideas of the human race. Not only every religious symbol, but every human thought has its page in that vast book.
I've always thought of the book as a visual art form, and it should represent a single artistic idea, which it does if you write your own material.
Maybe philosophy - I love talking about ideas. Or maybe art history. I was thinking about psychology, then I got really afraid because everybody says it's terribly boring.
There's an axiom I live by: 'There is no art without politics.' You either choose to engage it, or you choose political apathy. This ties in with ideas around real-time performance and feedback.
I think TV promulgates the idea that good art is just art which makes people like and depend on the vehicle that brings them the art.
Art is based on very clear, mathematical principles like proportion and harmony. At the same time, physicists need to be inventive, to have ideas, to have some fantasy.
As I had collaborated with visual artists before whether on installations, on performance pieces, in the context of theatre works and as I had taught for a time in art colleges the idea of writing music in response to painting was not alien.
I've never been a big fan of subtle art. I like art that gets deep into my head and starts my brain spinning with new ideas and inspiration and my whole body is full of energy.
