You know in a playoff atmosphere anything can happen.
It was, like, two mobile games I released. They did pretty well, and after I made those two games, I was like, 'Man, I want to make another game, but I want to make this game for PlayStation and Xbox and PC.' I was like, 'You know what? Forget making the video game for Xbox, PlayStation and PC. How about I make my own console?'
I had been brought up in the law and had this sort of instinct that international law operates and was there to protect principles and not to be the plaything of power and might - which I now know, of course, to be an absolute nonsense. International law should be spelled l-o-r-e.
Things rust, you know, like the heart. My cardiologist said, 'It's a pump; use it - that's the sole advice I've got to give you.' It's the same in playwriting. Don't theorise about it. Do it.
Thousands of people plead guilty to crimes every year in the United States because they know that the odds of a jury's believing their word over a police officer's are slim to none.
Well, it's not a pleasant experience. And it's a terribly political process, because that thing was initiated by the Congress and by, you know, our adversaries in the Congress.
I have made the choices that work best for me. I know I cannot please everyone, and that's fine.
You don't want to disappoint anybody, but you know, you lose your voice by trying to please everyone.
If a man breaks a pledge, the public ought to know it.
The audience today has heard every joke. They know every plot. They know where you're going before you even start. That's a tough audience to surprise, and a tough audience to write for. It's much more competitive now, because the audience is so much more - I want to say 'sophisticated.'
Younger people have greatest fears. Why is that? Because they don't know the plot. They don't know their own individual plot... they don't know what's going to happen to them.
I don't like plots. I don't know what a plot means. I can't stand the idea of anything that starts in the beginning - you know, 'beginning, middle and end.'
The Brer Rabbit ploy has been quite effective for me. When a country is talking about prosecuting me, I demand to be charged and put on trial and offer to pay my own airfare. They know that I'm going to bring a lot of international media with me and put their whaling programme on trial, and they decide it's better to keep quiet and do nothing.
You'd think after 8 years of things called 'The Patriot Act' and 'No Child Left Behind' they would know that we have figured out the 'Call it what it ain't' PR ploy by now, but... um... no.
You better be very convinced, very sure, before you pull your plug or someone else's plug, that you know what's on the other side of the gravestone.
You never know when the break is going to come, so you have to keep plugging away.
One of the best sleight-of-hand guys I know is a plumber.
When you tell them you're a writer, they say, 'What have you written?' And then you've got to tell them what you've done. I don't ask a plumber what he does. Then I have to explain what I've done, and I haven't really, you know. I've just told some stories.
In 'Hollow City,' I'm taking all the characters out of the lives they've been secure in for years and plunging them into the unknown. That's how you really get to know them.
Pluralism is denied logically; inclusivism is denied scripturally, and that leaves us with exclusivism... you have to know that Jesus died and believe in it in order to be saved.
