I catnap now and then, but I think while I nap, so it's not a waste of time.
I think that my interpretation of Italian was a lot more southern than what my husband cooks. You know, I grew up in Queens and in Brooklyn, and we - really, it's more southern. It's Naples and Sicily. It's heavier. It's over-spiced. And like most Americans, I thought spaghetti and meatballs was genius.
I don't think I was awake for much of my childhood. I did a lot of napping. This might have been a defensive measure against encroaching depression. Until about the age of eleven or twelve, I had zero interests other than trying to steal gumballs from supermarket gumball machines.
I think that's what happened to the record business when 'Napster' came around. The industry rejected what was happening instead of accepting it as change.
I've never supported this concept of going after Napster. I think the rock bands who fought this were wrong.
I think that Napster is the greatest invention since sliced bread. Napster, to me, is liberation and freedom for artists.
I think Sean Parker damaged the music business with Napster.
I think that the most beautiful thing lately hasn't been in hardware or software per se but collaboration - the idea behind Napster, which uses the distributed power of the Internet as its engine.
I like to think I'm not a narcissist, but truth be told, we all have those sides to our character.
I think that people in the phase between being someone's kid and being someone's parent have always been uniquely narcissistic, but that social media and Twitter and LiveJournal make it really easy to navel-gaze in a way that you've never been able to before.
People, they think that animation is a style. Animation is just a technique. It's like, people, they think that comics is a style, like comics is a superhero story. Comic is just a narration, and is a medium, you can say any kind of story in comics and you can say of any kind of story in animation.
I've always felt that the traditional novel doesn't give you enough information about the narrator, and I think it's important to know the point of view from which these tales are told: the moral makeup of the teller.
The omniscient narrator is a bizarre technique, when you think about it, and no one uses it much anymore. But for the novels I want to write, it's the only approach that makes sense to me.
I first read 'Lolita' when I was 16, which I think is a little bit young. But it was a thrilling and disturbing read because it was the first time I really sensed that you could have an unreliable narrator, that you didn't have to sort of tell the truth in a narrative, that there could be something deeper and richer and more complicated going on.
Everybody that's living in this earth is living in a situation. It's not narrow-minded to the point where everybody is serious and nobody has a personality. I think people die telling jokes.
With the last couple of Pantera records, we kept getting more and more narrow-minded because of Phil. He didn't want to experiment or take any chances, and it was like being in a tube that was getting to be so small you couldn't even breathe. Personally, I think the dude was afraid of success.
I think Peter King... he's kind of narrow-minded.
Comics have years to explain this stuff, and in a movie, you have to focus on one thing. So it's about kind of streamlining, I think. Some of the most successful origin films actually have a narrower focus.
I think sometimes we put blinders on and define our personas very narrowly and are afraid to step outside the comfort zone - something I've never been afraid to do.
When you think about the NASCAR brand, it resonates everywhere. They have the No. 1 sports brand.
