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I use all kinds of resources for researching my novels. I'm not shy about calling up experts and asking questions, or emailing, or buying textbooks and references. The Internet is always a brilliant way to find instant facts, but it's not a great way to really understand your subjects in depth without a lot of work.

Aristocratic depression has this cosmic dimension to it, where it's asking these big questions about, "Why?" "What is the purpose of all this?" Neuroses of the middle class is the banishment of aristocratic depression, because it's kind of this obsession with quotidian detail that pushes these larger questions away.

We just kind of relied on written scouting reports through the eighties and even the early nineties. I've really been amazed by some of the data that's out there, especially with regards to tendencies of hitters, and certainly tendencies of pitchers as well. I would have loved to have gotten that data when I played.

I think the Donald Trump's obsession is, is bigger than just polling. I mean it's funny because we've been harping on polls like never before, Trump was harping on his own polls endlessly. I mean his stump speeches would begin with him crowing about his latest poll numbers and that was just a kind of odd convergence.

I’m faster than the rest of you, if .. Because I’m a vampire,” Michael said, and it was some kind of breakthrough for him to say that. “If you get in trouble, I’ll be there.” “Nice,” Shane said. “I’m warming up to this bloodsucking thing, Mikey.” “No, you’re not.” “Okay, no, I’m not, but right now let’s pretend I am.

The Canadian debt-to-GDP ratio will continue to decrease every year, including the first three years under the Liberal government. That is what we're focused on. We know we need to invest in the kind of long-term growth and short-term job creation that Canadians expect, and Liberals the only party offering to do that.

Photography's relationship with pornography is as old as photography. That kind of unholy relationship is formed from the very beginning, and there's a reason why: it's thoroughly enjoyable to be that voyeuristic. Voyeurism is a very old modality, and most of the history of photography is in some way related voyeurism.

I don't refer to myself as a sculptor, but I use the word "visual artist." I prefer that, because that leaves the medium wide open because I've got ideas for film and video, things I haven't had the time yet to really fully explore, probably never will, but I want to be able to have that option open to kind of do that.

I think that there's room to grow, as far as being a person of color in film. I went to the theater the other day, and there's a whole bunch of Valentine's Day movies coming out. And the only ones that you see a lot of us in are us goofing off and clowning around; it's this kind of pseudo-romantic comedy kind of thing.

I'm a bad walker but I can dance tango. You know why? Put your hand up. Push on my fingertips and just hold it. In tango, your feet are free but the top of your body pushes, so if I feel like I'm gonna fall, my partner can catch me. So I walk with a stick but I can totally dance the tango. It's a romantic kind of thing.

Commuter trains are the easiest target for terrorists, as we have seen in Madrid, London, and now Bombay. But it is difficult for a Westerner to comprehend the kind of overcrowding in a Bombay local train; they ferry six million passengers a day. A bomb that goes off in one of those compartments will have maximum impact.

One problem of the String Theory is that it's kind of a theory which can explain what the problems are, but the problems are such that you can't even pin it down and say this is exactly what it predicts, so lets go out and test it. So, it's not even capable of being wrong, or being falsified, or being showed to be wrong.

I'm actually genuinely optimistic about the United States and what's possible in the United States. And when you're out here, you see Americans across racial and economic and socioeconomic lines working together. And you maybe get a little bit less cynical than when you sit in the seat of kind of the epicenter of it all.

Laura from The Mysteries Of Laura is the most different from me personally that I've ever played. I'm a very thoughtful, forward-thinking, planner kind of person. I love Excel spreadsheets and five-year-plans, and I love to review every year how my New Year's resolutions went. I'm like that, and that is not Laura at all.

It's a very collaborative environment [making The Office]. We always do takes of how it's scripted, but then we also mix it up a lot too. And it's kind of a crapshoot, you never know which one... I mean a lot of time improvisation doesn't go anywhere and it's not good at all but, so what was written is often times better.

There's a shift of these young artists who have been brought up, educated, with these media around them. If you have a question, if you have a doubt, you go to the Internet, for example. And you will get thousands of answers to your questions. All of this will proliferate more kinds of questions and more kinds of answers.

Most people will reach a point where, whatever their ideology, they will relent, or conform, and that keeps them kind of in the general mass of people. And for those who find that they can't, all of sudden they leave the general mass, they find that they become exceptions, and exceptional, and often this makes them public.

I was around New York at a time when independent cinema was at its peak and became kind of popular and mainstream. It got some hype, culturally. After that, studios started to have independent companies within their studio system, and they found bigger stars willing to do new material. That's kind of what it's turned into.

For what gives value to travel is fear. It breaks down a kind of inner structure we have. Travel robs us of such refuge. Far from our own people, our own language, stripped of all our props, deprived of our masks (one doesn't know the fare on the streetcars, or anything else), we are completely on the surface of ourselves.

People feel better because Donald Trump says all kinds of things no one else would say and we get certain tendencies out of our system. So if attacking immigrants, say, is a substitute for doing something worse, there's at least a scenario under which that's a better alternative than something else that might have happened.

I can't do the same movies all my life. I'm conscious of that. But it's a trade-off. 'Dear John' allowed me to do movies I've wanted to do. You learn to balance it out. I'm still learning. Only now am I getting to do the kinds of movies that I have wanted to do. So it's a steady climb. You don't jump into a Soderbergh film.

If you're steering a boat down a river, it's not something about which you can know that. You can only know how to do it. It's unfinished, it has no start-stop time, it's fluid. Practicality relies on indeterminate markers. It's just another kind of knowledge that's sexy, in a certain way. It's reactive, and often physical.

Performing is great, but you are exposed to all this extra stuff that you don't have to deal with when you stop. I'm getting used to it now, but it's kind of just the fallout. It's really weird. It's not a natural situation to be in. It sounds like moaning, because I know that's what I'm supposed to do, and I'm not moaning.

There is a sinister anachronistic interpretation of the aesthetic state as some kind of totalitarian regime that puts aesthetic over moral standards; one associates it with national-socialism. But this has nothing to do with the romantics, whose ideal of the aesthetic state has much more to do with the republican tradition.

There is no kind of framework within which we can find consciousness in the plural; this is simply something we construct because of the temporal plurality of individuals, but it is a false construction... The only solution to this conflict insofar as any is available to us at all lies in the ancient wisdom of the Upanishad.

Death is a fisherman, the world we see His fish-pond is, and we the fishes be; His net some general sickness; howe'er he Is not so kind as other fishers be; For if they take one of the smaller fry, They throw him in again, he shall not die: But death is sure to kill all he can get, And all is fish with him that comes to net.

I always find live shows on film kind of boring. Even my favorite ones, I kinda zone out for most of it. It's just so different seeing a band in the flesh and then watching a film of it, even if you have a hundred cameras and it's shot from every angle. There's just a communal, visceral thing that never translates very well.

In my years of working in theatre and TV I've learnt that my main skill is not the instrumental playing but the idea of what to play and my interest for so many kinds of music. Often people ask me to contribute to projects when they don't stay in just one genre. I feel more like a composer who just has to play his own things.

I haven't really auditioned much in my career. I've been lucky in terms of the feature work; it's mostly been people that have been fans of mine that have called and said "We have this part, do you want to do it?" That kind of thing. And that's sort of still the way it is right now - I don't really go after features too much.

Because we take these huge long breaks, and then I just kind go, "Okay, fine, this is the way that I've chosen to live my life, and if the band now fades into obscurity, so be it, that's my decision." But then we come back and it's still as big as ever, or bigger. It's always been a surprise to me, that it worked out that way.

I create my own schedule, so you start out each day and you say, "Okay, from 10 to 11 I'm going to write," and on the dot at 10, I went downstairs, got dressed like I was going to work, and at 11 I stopped. I don't know why, what kind of wizardry about that worked, but having the structure for a month, I was dishing out songs.

... in general, the Anglo-Irish do not make good dancers; they are too spritely and conscious; they are incapable of one kind of trance or of being seemingly impersonal. And, for the formal, pure dance they lack the formality: about their stylishness (for they have stylishness) there is something impromptu, slightly disorderly.

My view is that everything begins with the customer. If you know the customer, then you can match the merchandise and then you can market it. The marketing is kind of the icing. The foundation is the cake. That's the merchandise. Then the question is, "Do the customers want cake, or do they want cupcakes or donuts. What is it?"

I think when you're writing prose there's a lot of attendant description and that's were I used to really go bananas. With a screenplay that all gets filled in by the director, so it just sort of pulls you back by virtue of the form. You also have to use more economy as a screenwriter and so it's kind of limiting in a good way.

Yes, the fear of its blankness. At the same time, I kind of loved it. Mallarmé was trying to make the page a blank page. But if you're going to make the page a blank page, it's not just the absence of something, it has to become something else. It has to be material, it has to be this thing. I wanted to turn a page into a thing.

I like all the kinds of music I've been into. I'm certainly not a purist in that I will only play country licks in a country song or blues licks in blues stuff. The thing I would like to be able to do is to make the music sound right no matter what it is. If somebody else wants to have a label for it, then that's their business.

You sit and you let your fingers go to wherever they are going to go. You wait until you start to hear something, and you start to figure out what it is that you're doing. And then you add another piece next to that piece, and wait to see if some kind of pattern or something interesting starts to grow, and then you cultivate it.

As a writer, one of the things we all learned from the movies was a kind of compression that didn't exist before people were used to watching films. For instance, if you wanted to write a flashback in a novel, you once had to really contextualize it a lot, to set it up. Now, readers know exactly what you're doing. Close-ups, too.

I define poetry as celebration and confrontation. When we witness something, are we responsible for what we witness? That's an on-going existential question. Perhaps we are and perhaps there's a kind of daring, a kind of necessary energetic questioning. Because often I say it's not what we know, it's what we can risk discovering.

Small towns and local publications love to have a hero of some kind. For Portland, it's definitely Ian Karmel and Ron Funches, but every year now they're looking for that person. If you know they're looking for it, then you could just try to insert yourself into that position, and it's much easier than if you're in a bigger town.

I am inspired by thinkers. I am inspired by rebellion. I am inspired by children. I have been inspired by love. I have been inspired by heartbreak. I try to take everything that comes at me in life. There have been times in my life that I didn't handle things... right. But even though you stumble, you still kind of get through it.

The impossible often has a kind of integrity to it which the merely improbable lacks. How often have you been presented with an apparently rational explanation of something that works in all respects other than one, which is just that it is hopelessly improbable? Your instinct is to say, 'Yes, but he or she simply wouldn't do that.

I really enjoy playing for hours and hours. DJ sets where you turn up over an hour and you're on a festival stage, people basically expect much more pounding than I ever would play. I just feel like a fish out of water when I do those. They want something really kind of aggressive; that's not really the kind of music that I'm into.

In all the music I've done, what I'm really interested in above all else, and I'm not sure it's what one should be interested in, is the kind of - you know, people talk about work progressions, which doesn't really make sense with pop music because there is no progression, because there is no tonic, because there is no more tonality.

Im interested in the liberating aspect of being totally untethered, let loose in the worst possible environments. My favorite artists are always women that do things that are so wrong... I like things to be seven kinds of wrong. If they are seven kinds of wrong, sometimes the wrongs neutralize themselves, and the whole thing becomes.

After the Republican Party did everything that Colin Powell says it needs to do to grow, and nominated the very kind of candidate he wanted in 2008, what did Powell do? He endorsed Obama! So according to the Drive-Bys and David Gergen, Republicans should let somebody who campaigned and voted for Obama, tell us how to build our party.

The artwork for the record is kind of an homage to that. It's a collage, which rhymes with homage, I just realized. It's an homage to this kind of almost like a teenager's idea of what the future might look like, if he were using a Xerox machine and cut-and-pasting it together. Which is exactly what we did to come up with the artwork.

I was like, "Oh yeah, that's kind of like me. I'm always living in the past." When I was really young, I thought I was from the 18th century and I was trapped in this life, and I was so miserable and figuring how I could get back. Maybe I was just picking up on ideas of past lives, but I really did believe that I was from another era.

One of the things I love about the Bible is that it's page-by-page proof that God is not just a "broad strokes" kind of creator; God is in the details. So much so that we're told nothing is hidden from him. He sees everything; he's the beginning and the end. There's no greater authority on your life than the one who gave you your life.

What we do is we combine information collected from any lawful source in a single FBI database so we don't miss a dot when we're conducting investigations in the United States. What we make sure of, though, is nobody gets to see FISA information of any kind unless they've had the appropriate training and have the appropriate oversight.

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