I really don't chase songs. I get in the studio, I know what I gotta do; I'm pretty much programmed to do it.
LISP programmers know the value of everything and the cost of nothing.
I know there have been some catastrophically unpopular programmes on television over the years. Has it ever got to the point where the only person still interested in what's happening is the person who's on the telly?
I kept on buying records and listening to them. Finally, I was able to hear the relationship between the jazz improvisers' solos and the underlying structure that it's based on, the chord progression. That was pretty easy to do in the swing era, y'know, when jazz was, like, pop music, you know. It had made the charts and everything like that.
Sixty years ago I knew everything; now I know nothing; education is a progressive discovery of our own ignorance.
I knew exactly how I wanted it to play, but you are never sure until you watch the projected images reflect off the screen. That's when you know it worked.
It seems natural to me that as a writer, you should have some kind of, you know, there should be some kind of projection that you actually have influenced people who are closest to you.
I know what I need to do to prepare myself, and I try to do the best I can to take care of my body and prolong my peak years as a baseball player.
I guess I don't know if I'm comfortable with fame or touring or promo or any of that stuff, and I really discovered that I love working for people and co-writing and working under someone.
I'm a promoter of the people for the people and by the people and my magic lies in my people ties. I'm a promoter of America. I'm American people. You know what I mean? So therefore, uh, do not send for who the bell tolls 'cause the bell tolls for thee.
I just want to start conversations. I want to do films that prompt conversations - whether that is positive, negative, indifferent - just ones that you leave the theater wanting to know more, wanting to watch the film over and over again.
I have a weird propensity to know what's going to happen in the future.
You know, there's a tremendous amount of genetic propensity not necessarily for what TV shows you like but for literally how you view the world, how you react to things, how things touch you and how things move you.
You know that I'm always a proponent of doing things differently.
When you're in a crisis of, you know, tremendous proportions, it's beyond any human capability to control, you just make the best decisions you can, and you just hope that your intuition is correct.
If it doesn't have a full delay or defund of Obamacare, I know I and many others will not be able to support whatever the leadership proposes.
You know that being a public figure is instantly grounds for prosecution.
One of my first questions when I interview prospective employees is, 'Do you know how big a sheet of plywood is?' Most people don't, and say they are different sizes, but it's 4' x 8'. Anyway, working with your hands is a very American thing that we kinda lost here, but it's an important skill to have.
I have heard of people dying from prostate cancer, and they are the unlucky ones, the people who didn't know they had got it, and it went on the rampage.
'What It Is' was based on this class I've been teaching for 10 years - I wanted to write a book about writing that didn't mention stuff like story structure, protagonists, and all those things that we know about only because they already exist in stories.
