I want my readers to be disturbed. I want them to ask, 'Could this really happen?' It is my job to think up new possibilities, to stimulate thought.
I think we can launch - successfully, high quality - around 20 original scripted shows a year, which means every 2 1/2 to three weeks you're launching a new season or a new show on Netflix meant to be for really diverse tastes all around the world.
I think of each new season as an evolution, not a change in style.
I don't live in the past or focus on making new songs sound like my old stuff; it would be stupid, and I don't think anyone would like it.
But we will play 6, 7 new songs each evening, approximately a third in the concert. I think it's a good balance. It will be very interesting to see the public's reaction. But i think when we'll play the very first new piece, we will be scared.
I think the success of 'Downton' is partly because there are effectively 18 leading characters, all given equal importance, so it's enormously involving on many levels. But also, it's a new story. It's not like Dickens or Austen, where everyone knows the denouement.
I think that the best things that governments can do for productivity is not whack on new taxes and, if we can get institutions like schools and hospitals functioning better, well that's obviously good for the overall productiveness of our society.
I think so long as fossil fuels are cheap, people will use them and it will postpone a movement towards new technologies.
So I think the winners in recession are the people who produce new technology that does things better, which people really want.
If someone makes an inroad into a new territory, a new market, people will follow their success. That way, I think we will be getting more pan-India films and not restricted to a region or a language. More and more films will come out on a bigger budget, on a larger-than-life scale.
I think that fashion has become such a big business and with globalization we are on new territory at this point. We are not just designing for a country we are designing for a world now.
Give the people a new word and they think they have a new fact.
If a writer doesn't do anything but give a new word to his language and, from there, maybe to other languages, I think that writer redefines the world.
I think of the New York City Ballet as the Yankees without George Steinbrenner.
I think that every year that the New York City Ballet is alive is worthy of celebration. Because otherwise the terrible thing is just that we take it for granted.
I always have issues with trust. I'm a New Yorker... Really, I think trust is something that comes from the gut. And I think you have to - it's probably the worst advice to give people - but I think you gotta trust people from your gut.
I don't feel American. I do feel like a New Yorker. I think there's a real distinction there. A city allows you to become a citizen even when you're not a national.
I said, to be a New Yorker you have to live here for six months, and if at the end of the six months you find you walk faster, talk faster, think faster, you're a New Yorker.
I think the most interesting New Yorkers are the people who were not born here.
We each have a self, but I don't think that we're born with one. You know how newborn babies believe they're part of everything; they're not separate? Well that fundamental sense of oneness is lost on us very quickly. It's like that initial stage is over - oneness: infancy, unformed, primitive. It's no longer valid or real.
