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I think the biggest learned behavior that I would love to get rid of is that little voice that tells you, 'That's stupid. You shouldn't say that.' And then five seconds later, you hear somebody saying the same thing, and you think, 'Seriously, what is wrong with me?' I think, in particular, a lot of women do it. And that's a problem.
You'll never even catch me doing that 'soft atheist' thing of very softly singing along or just mouthing the words, looking down at a hymn sheet every few seconds to check the words. To state the obvious, as an atheist, the hymn sheet is no use to me. So I just stand there, looking straight ahead or up at the ceiling, and do nothing.
We are in the middle of a big swamp of ignorance that is taught by a lot of nonsense, propaganda, absurdity, amalgams. I have a hard time listening to any speech. You feel like you want to stop the TV every two seconds to rephrase them, because it's lie after lie, turning stuff upside down, and you can't follow that. That's the trap.
The thing is, people only care about their selfie. I am a fan of artists, and if I have 30 seconds with an artist, I am not going to take a photo just to prove on social media that I was with the artist. I am going to enjoy every single second of those 30 seconds, ask questions, talk, actually make something of the moment, thank them.
The whole point of art school is that you're going to be able to have nudes all day long and a teacher who is there to move you. It's great. I did a tiny bit in the one school in Paris, and it was wonderful because you'd have a nude taking a crazy position, and you'd have 10 seconds to do a drawing. Then you'd do a one-minute drawing.
Whenever you take a general meeting, inevitably you run out of things to talk about, they'd always say, 'What's your dream project?' I would always pull out 'Gerald's Game.' If they knew the book, they'd say, 'Well, that's unfilmable.' If they didn't know the book it would take about 30 seconds of my pitch to say, 'That's not a movie.'
When Nina Simone first sings the title of 'Feeling Good,' her voice has been alone for thirty-nine seconds. The solitary singer: there's always something fiat lux about it. Resolute, the individual moves through the void. You know the accompaniment is coming, but the voice, all by itself, makes you care about it: form turns into feeling.
I met Porter Robinson in, like, 2016 at Shaky Beats after one of his sets. Me and my friends ran backstage really quickly to try and get him as he was going to his trailer. We said 'Hi' really quick, and it was the best 30 seconds of my life; it was amazing. Getting to meet artists like that that have changed my life is super, super cool.
We'd really like for BlizzCon to be something that the people who really really want to go, if this is something you're really passionate about, you want to be here at BlizzCon, we'd like it to be possible for you to get here. When we are selling out in a couple seconds, it's really not possible for a lot of people that really want to come.
The time to hurry is in between shots. It's not over the shot. It's timing how people walk. You have to add that to the equation. If you've got somebody walking slow and they get up to the shot and take their 20 seconds, what's the aggregate time for them to hit that shot in between shots? That's what really matters. It's not the shot at hand.
In the first 20 seconds of talking, your light is green: your listener is liking you as long as your statement is relevant to the conversation and, hopefully, in service of the other person. But unless you are an extremely gifted raconteur, people who talk for more than roughly half a minute at a time are boring and often perceived as too chatty.
When 'Mortal Kombat' came out, I was living in an apartment in the Venice Canals in L.A. I didn't get paid a huge amount of money, so I had a nice apartment, but I couldn't afford to have it furnished. It was kind of like Robert De Niro's apartment in 'Heat': It looked like I was ready to walk away from it in ten seconds, because there was nothing.