Tilda Swinton Quotes

I use doodling for a variety of reasons: I use it to get clarity around a concept, I use it to relax, I use it to communicate ideas with others and get their refinement of them, I use it to map complex systems for companies, I use it to run innovation games for business, I use it to get insight on something puzzling me.

Editing is a meditative process. I enjoy it the most. I am not dealing with 200 people.

For as long as I've been making movies, I really don't know a lot of the technical side. I mean, I've actively and consciously tried to avoid learning that stuff. I just want to be open and receptive to what's happening in the moment, and I don't want to force anything.

I don't know how (producer) Dan Harmon put that together but he did. Everyone gets along and we all babysit Chevy Chase (laughs) and it all works out. Plus we are given a lot of freedom to riff off each other and compliment each other's comedic style. The group is so talented, whether it be Donald Glover or Allison Brie and now Jim Rash who plays the Dean is finally a full member of the cast - oh my gosh, he is so funny. I call him Rumplestiltskin; he can spin comedy out of anything. I am in such a blessed situation - if only more people would watch it.

When we have a brilliant idea, instead of making others think it is ours, why not let them cook and stir the idea themselves.

I can't do things by myself. I need a motivation, and the motivation is always the director's. I find my freedom inside other people's barriers. It's easier for me to find myself inside someone else's tracks.

You stay with the foundation and then you just try different things because you don't know how the director will cut it and you want to give him, what will work, and you want to give him some options, give yourself some options, discover some things when you start to play. That's what we do; we get paid to play.

In the beginning we were creating our music, ourselves, every night . . . starting with a few outlines, maybe a few words for a song. Sometimes we worked out in Venice, looking at the surf. We were together a lot and it was good times for all of us. Acid, sun, friends, the ocean, and poetry and music.

You had a choice: you could either strain and look at things that appeared in front of you in the fog, painful as it might be, or you could relax and lose yourself

I write intuitively, and with most of my plays, I don't know what is always going to happen. This means I can sometimes go off on a wrong tangent, and with luck then rewrite it in a better direction. But it means I sometimes surprise myself as I'm going along.

I won't necessarily make new music because when you make a record there are these great expectations on the side of the record company who are going to produce your record, promoters that are going to do your shows. They want you to do interviews, they want you to play shows. I mean, they want it to be a campaign.

Born of necessity, the little fellow literally freed us of immediate worry. He provided the means for expanding our organization to its present dimensions and for extending the medium of cartoon animation toward new entertainment levels. He spelled production liberation for us.

The best thing about being a statistician is that you get to play in everyone's backyard.

It doesn't mean we're not going to be tough across the world, it doesn't mean that we're not going to always put America first in everything we do. But we have big problems in this world. And I don't think we can solve these big problems by making believe that people don't exist. They exist. We have to talk to people.

I think it's possible to allow an artist to go beyond his borders and play.

I never get too many problems. You can never please everyone anyway, obviously. And some people take the easy route and just play the greatest hits, and their audience is happy to hear that as well, and that's fine, but it wouldn't please me. But it doesn't trouble me.

When in doubt, play track 4 - it is usually the one you want.

Children that play outside develop better problem solving skills and have a stronger ability to work within a group.

I worked with the late Leonard Frey. I did a play, and I would have these ideas and he would say, "I don't know. Try it." And I would try it and it would be awful, and he would go, "What do you think?" And I would go, "It was awful." And he goes, "Okay, we'll try something else." And that's great because it really makes you feel less working-for and more working-with. There's nothing better than to feel a part of the team.

As long as there is democracy, there will be people wanting to play jazz because nothing else will ever so perfectly capture the democratic process in sound. Jazz means working things out musically with other people. You have to listen to other musicians and play with them even if you don't agree with what they're playing. It teaches you the very opposite of racism and anti-Semitism. It teaches you that the world is big enough to accommodate us all.

Choice is the keynote of self-determinism. To determine anything, you must have the choice to determine. Choice to determine means that you must have the power of decision. Decision and time have a lot in common. When we have clean, clear decision, we have clean, clear time. And when we have indecision, there is an unclarity about time.

You have to be able to feel like you can play way outside of the box. If you're with a great filmmaker and someone you can trust, that's encouraged, and Seth was that kind of filmmaker and co-star.

Solving a problem simply means representing it so as to make the solution transparent.

Chanting Hare Krishna is really the same sort of thing as meditation, but I think it has a quicker effect. I mean, even if you put your beads down, you can still say the mantra or sing it without actually keeping track on your beads.

Those single-track military minds never think to ask their cleaning staff for help in giant lethal marauding creature matters.