When you are an actor, you have to stay inside this world, but when you are with the crew, on the outside, you are in the dirt, working through all the issues. It's just a different way of working, and I think I preferred it.
If the world ran the way a crew runs a set, we'd have a better, more progressive world.
I was in World War II; I cried when they took me in the Navy. That's the last time I cried.
The world cries out for global rules that respect the achievements of science.
The greatest crime since World War II has been U.S. foreign policy.
If you think the shifting tectonics of world history might make for a juicy crime fiction backdrop, the last decade or so has proved you right.
The Marcos era was the golden time for the Philippines. We had the lowest crime rate in the world in Manila and real development then. At last, people are starting to understand this.
We need to keep making our streets safer and our criminal justice system fairer - our homeland more secure, our world more peaceful and sustainable for the next generation.
What a world this will be when human possibilities are freed, when we discover each other, when the stranger is no longer the potential criminal and the certain inferior!
The world is filled with violence. Because criminals carry guns, we decent law-abiding citizens should also have guns. Otherwise they will win and the decent people will loose.
In America there is a channel called TruTV which is just reruns of 'Cops' and 'World's Dumbest Criminals'. I could watch that the entire day.
Everyone is an ocean inside. Every individual walking the street. Everyone is a universe of thoughts, and insights, and feelings. But every person is crippled in his or her own way by our inability to truly present ourselves to the world.
I find that the hardest work in the world... is to persuade Easterners that growing up in the West is not intellectually crippling.
We all have insecurities, and the thing that makes them crippling is that we all have the ability to blow them up into such huge issues in our minds, that we might as well have a facial deformity. It keeps us from really going out there and living our lives, and forgetting about hating yourself and just experiencing the world around you.
In Arizona, we're at 7,000 feet, so we're above half of the world's atmosphere. It's crisp but hard, a side-raking light that can be revealing but doesn't have the softness that maritime air has.
I was probably the best that ever walked this earth. And I could take a punch. I could deliver a punch. I didn't have the hardest punch in the world but my punches were sharp and they were crisp. And if you took too many of them, you would be knocked out.
In the real world in which we live, you always have to choose between evils. And in choosing between evils, you have to have moral criteria for how to make those choices.
Basically with everything, I choose my criteria based on what can be easy. If I made the real world the setting, I'd have to draw looking at reference materials for stuff like buildings and vehicles. When you do that, people complain even if it's just a little bit off.
We are not frou-frou creative types. We have done both sides of the business and are constantly asking ourselves, 'How are we going to pay for this?' But the criteria is that it must fit with our world.
The signs that the world is spinning out of kilter are increasingly difficult to misinterpret. The question is how to convince enough people to join a critical mass of urgent opinion, in the U.S. and the rest of the world.
