I started, actually, to make my first animated cartoon in 1920. Of course, they were very crude things then and I used sort of little puppet things.
Sometimes i think there must be a sort of pollen of ideas floating in the air, which fertilizes similarly minds here and there which have not had direct contact.
I think Stalin was afraid of Roosevelt. Whenever Roosevelt spoke, he sort of watched him with a certain awe. He was afraid of Roosevelt's influence in the world.
Colonialism bred an innate arrogance, but when you undertake that sort of imperial adventure, that arrogance gives way to a feeling of accommodativeness. You take pride in your openness.
The German export successes are not the result of some sort of currency manipulation, but of the increased competitiveness of companies. The American growth model, on the other hand, is in a deep crisis.
It's a lot harder to do an ensemble because your energy is going in so many different places, and you have to cover everybody. You have to sort of split your attention.
It's just interesting that people don't really know about the roles that I play that are darker. I kind of do a huge blend of really big light things but also really dark indie things, and it just sort of happens to work out that way.
I was only ever part of 'Lost' - a very small part of an extremely talented writers' room, where as a writer, it's sort of your job to sublimate your ego and work in the service of the show and the show's voice.
So this is the space during tutoring hours. It's very busy. Same principles: one-on-one attention, complete devotion to the students' work and a boundless optimism and sort of a possibility of creativity and ideas.
I've grown up around cinema. Michael Kamen was a very, very close friend of mine, sort of my godfather. So I know how much work goes into it. You have to know what you're doing.
I actually worked for a small company in Ohio that sort of farmed out work from Disney and Dreamworks, so I really only ever worked in two studios.
But when it comes to writing the thing that I've sort of been thinking about lately, is why? You know, is it rational? Is it logical that anybody should be expected to be afraid of the work that they feel they were put on this Earth to do.
I always tend to see, right after reading the script, the character and how I want to play it. I guess that's sort of most of the work, preparing for the role, but almost the creation of the character seems to go on as I read through the script.
I certainly do all sorts of work. I'm very, very blessed to do drama and other types of television, and things like that, but I always go back to sci-fi, whenever possible, because that's really exciting for me.
I suppose all of us - we have the old Protestant work ethic of feeling guilty when you're not working, and getting a buzz from feeling like you're really busy. That's the reason to sort of carry on.
I always sort of create practical problems so that I don't have to see a film I've just done. I'm too vulnerable, too fragile. People see your work, and there's nothing you can do. You're completely exposed.
Hugh Everett's work has been described by many people in terms of many worlds, the idea being that every one of the various alternative histories, branching histories, is assigned some sort of reality.
For the scientists, they're kind of puzzled and pleased that somebody finds their work interesting. It makes it fun for me. I feel like I've sort of turned over a stone that hasn't been turned over.
I was happy she got it and I have to sort of - and one of the reasons I did Third Watch is because I wanted to break that thing of just being the pretty girl and play it down and let it be about the work.
Nonfiction filmmakers were afflicted by two problems: one technical, the other spiritual. Technically, they did not have the equipment to do the sort of work I had in mind. Spiritually, they didn't care about the work because they'd been mistrained.
I know how long it takes me to draw a page, how long it takes me to complete a project, how long I can work before my hand gives out, that sort of thing.
