The way Ben Gibbard paints a picture, you feel like, 'I was there that day with him.' You really feel the way he paints pictures and speaks and talks. It's almost like talk-singing. Paul Simon does that very well as well. He's a huge influence of mine.
In the big picture, we see WeLive as a huge opportunity, as big as WeWork, for sure.
My assumption is that fundamentally the picture of the human animal, as developed by Freud, is largely right.
Rather than shutting down free speech, we need to broaden it, to make it possible for young people to say even the things we dislike so we can talk them down. And we need politicians to articulate a picture of the future that includes all of us. Not British values but shared human values.
Actually, I'm not all that interested in the subject of photography. Once the picture is in the box, I'm not all that interested in what happens next. Hunters, after all, aren't cooks.
If you are part of a religion that very strongly insists that you believe then to decide not to do that is quite a big hurdle to jump over. You never forget the thought process you went through. It becomes part of your whole intellectual picture.
Ideally, I'd like to go right back to getting $7 million a picture and being the headliner. That's probably not going to happen.
To know that a kid could come up to me in 20 or 30 years and say, 'Hey, here's a picture of us. I met you at a meet-and-greet, and I idolized you as a child. I'm a WWE Superstar, too, because you inspired me.' That's crazy to think, but it could happen. I made it, so if I can make it, anybody can.
But you can't show some far off idyllic conception of behavior if you want the kids to come and see the picture. You've got to show what it's really like, and try to reach them on their own grounds.
When I was young, my favorite picture book was 'Fletcher and Zenobia,' written by Edward Gorey and illustrated by Victoria Chess. It's long out of print now, but its mix of macabre humor and 1960s psychedelia made it a perfect children's book for the times.
The illustrations in picture books are the first paintings most children see, and because of that, they are incredibly important. What we see and share at that age stays with us for life.
I always say it's a shame picture books get such a bad rep. Illustrations are tough to sell older kids on!
What I find sometimes that is tricky is if actors are using too much of their own life in a picture, in a scene, they get locked into a particular way to play the scene, and it lacks an immediacy.
Given the tendency of many to picture God's realm as somewhere high above Earth - an idea that sounds suspiciously like the Greek stories of deities perched on inaccessible mountain tops - it may seem plausible to assume that astronomers have special insight. Well, of course they don't.
The scientific perspective of the world, especially the living world, inexorably impresses on us a dynamic picture of the world of entities and structures involved in continuous and incessant change and in process without ceasing.
There are certain times I don't want my picture taken. If my wife's stepping out of a car and it looks like it's going to come out an indecent picture, don't I have a right to object?
Sound is your friend because sound is much cheaper than picture, but it has equal effect on the audience - in some ways, perhaps more effect because it does it in a very indirect way.
The dominant invades the entire picture, as it were. In this way I seek to individualize the color, because I have come to believe that there is a living world of each color and I express these worlds.
There's evidence of a social decline in direct proportion to technology and the industrialization of the motion picture industry.
I have always felt comedy and tragedy are roommates. If you look up comedy and tragedy, you will find a very old picture of two masks. One mask is tragedy. It looks like it's crying. The other mask is comedy. It looks like it's laughing. Nowadays, we would say, 'How tasteless and insensitive. A comedy mask is laughing at a tragedy mask.'
