As I visited the various neighborhoods in the campaign, I learned fast that it's a mistake to think that all of the wisdom and possible solutions to our problems are available only in this building.
I think a craft becomes an art form when the space of possible solutions becomes so huge that engineering can't carry you through.
I don't think perfection is possible. I think you can attempt to reach perfection, but I don't think it's a possible thing. I think perfection is a moving point, and we spend our artistic lives chasing it.
We go through, I think, six different drafts of each script. And then my shooting it is roughly, you know, fifteen percent of the total work that gets done on a show. Then it's all post-production animation after that.
I would say that there's definitely some advantages with me being able to talk shop with some of the effects people. Because I come from a post-production world, I can speak shorthand with them. I don't think many other actors can say that and know how the process 100% works.
To think that the heritage of the West, including post-war liberalism, was a selfish, secular, practical arrangement of politics is a fiction.
When I was a campaign worker, you would meet people who would want to vote but didn't have any money for postage. It happens more often than people think.
I think that if the Postal Service dies, it will be the end of democracy as we know it.
If you think about what the Postal Service fundamentally does, those guys are trained to get mail and sort mail - there's trust verification.
The fact that there's people out there that care about what I'm eating for breakfast or care about a tweet that I posted in 2012 that they pulled up because they were searching on my Twitter and things like that - it's hard to understand, because it's just me, and I just think, 'What's so interesting about me?'
In my workshops for young adults, the most important thing I emphasize is that anything posted online, no matter how private they think it is, is permanent.
It makes me proud, and it makes me scared. More than anything, I want to be an actor and I want to keep working, and I think there's a danger in being perceived as a poster boy for something.
I think, with the gay liberation movement has had need for heroes and heroines, and it would be rather nice to have Abraham Lincoln as your poster boy, wouldn't it?
I do not suppose I shall be remembered for anything. But I don't think about my work in those terms. It is just as vulgar to work for the sake of posterity as to work for the sake of money.
I think it better to do right, even if we suffer in so doing, than to incur the reproach of our consciences and posterity.
British culture is very cynical sometimes of overt displays of sentimentality, and I think that becomes almost a suspicion of emotion, or a suspicion of someone making a grand statement. It is always easier to be ironic, or 'meta', or coolly postmodern. But I think there is such a thing as authentic sentimentality.
In Modernism, reality used to validate media. In Postmodernism, the media validate reality. If you don't believe this, just think how many times you've described some real event as being 'just like a movie.'
We do not postpone the participation of the lower classes of our people in the profits of economic enterprise, and in other countries, they do postpone it. In the long run, I think our policy is better, and we stand by it.
Women often postpone their lives, thinking that if they're not with a partner then it doesn't really count. They're still searching for their prince, in a way. And as much as we don't discuss that, because it's too embarrassing and too sad, I think it really does exist.
I think I was able to survive five heart attacks because I never postponed going to the hospital when something didn't feel right.
