The best version of comedy is when you can get to an issue where, at some point, you're not firmly on one side or the other, and you can see both sides. The more we become about the issues, the more successful we are.
Usually you always see first cut is an extended version, because it's basically everything you shot, and you have that version and then you start cutting stuff out.
It's funny what [producer Richard Zanuck said about even though you can't quite place when the book or the story came into your life, and I do vaguely remember roughly five years old reading versions of Alice in Wonderland, but the thing is the characters. You always know the characters. Everyone knows the characters and they're very well-defined characters, which I always thought was fascinating. Most people who haven't read the book definitely know the characters and reference them.
We also have a piece about the Mayflower, but it's just a very different, very gritty, very character-driven version of why those people were on that boat and what the experience was like for them, emotionally, physically and spiritually, and also the Native Americans and what the state of Native American society was at that time.
I wrote six versions of a 30-second tease for an NBA game. You never get it right on the first try.
I'm the rap version of Dave Chappelle. I'm not sayin' I'm nearly as talented as Chappelle when it comes to political and social commentary, but like him, I'm laughing to keep from crying.
When you finally realize that peace is your natural state of being then you will know that any form of non-peace is a belief in illusion. Illusion that anything should be something other than what it is which can never be so. What if instead of waiting for what isn't to become your version of what is, why don't you be peaceful right now while you alter what isn't for you if you so choose? Is it ever worth it to wear a cloak of non-peacefulness over God Brilliance?
Josh [Gad] is such an amazing improviser and is so good when the material is flowing from him that sometimes, if a written scene isn't working quite right, I'll tell him that we've got it and that he can just play. He'll blow us away with some super weird stuff and some wild things that we might use bits and pieces of in the edit, and then I'll say, "Just for good measure, let's do one more of the scripted version."
I've played a bunch of different versions of Walter [from "Fringe"]... I loved it when he was being random, which was probably the original version of him, more than anyone else. I loved doing Walter then, and all of the different mental states that we've played.
I didn't drop into the mannerisms of another version of the character, but I guess I was pretty alert to that.
I love having played Walter because I suppose any actor brings a certain aspect of their own personality to their work, and I had a fairly broad canvas to paint on with the different versions.
I hate those live action versions of animated cartoons. It ruins everything, the whole point of cartoons is to get away from photographs. I mean it would be stupid to say that cartoons are better than photographs but its true.
If you've done a brilliant version it becomes something else.
According to the official version of history, CIA aid to the Mujahadeen began during 1980, that is to say, after the Soviet army invaded Afghanistan, 24 Dec 1979.
One of the things that really bothers me is that Americans don't have any sense of history. The majority of Americans don't have any idea of where we've come from, so they naturally succumb to the kind of cliche version that Ronald Reagan represented.
Women in America read 'lifestyle' pages which are really glorifications of shopping. They teach us we must veil ourselves in make-up to be loved. And we willingly take the veil, thinking ourselves freed by it. Make-up is no more optional for us than the veil is for Arab women: it is our Western version of the chador.
Much of John Kerry's recent surge has come at the expense of Howard Dean. The situation reflected in his hot new bumper sticker, 'Dated Dean, Married Kerry.' It's cute and a lot more tasteful than the alternative version, 'Dated Dean, Married Kerry, Finger-Banged Kucinich.'
I want you to hear a new version of Dueling Banjos. Anyone else is welcome.
Artificial intelligence would be the ultimate version of Google. The ultimate search engine that would understand everything on the Web. It would understand exactly what you wanted, and it would give you the right thing. We're nowhere near doing that now. However, we can get incrementally closer to that, and that is basically what we work on.
Novels–and memoirs–are perhaps the most comprehensive reports humans can deliver, of their private experiences, to other humans. In these terms there is only one kind of novel: a human attempt to transfer or convey some part or version of their world of noumenon to another’s world of noumenon.
To read 'Happy Talk' is to crash a party as vivid and surreal as Felini's 8. It's the business of show business, the American dream, told by a chorus of Americans locked just outside of that dream, outside of the United States, relegated to expatriate status on the shores of Haiti. Melo paints a version of Haiti that's an interior landscape perhaps even more than an externalized place. This Haiti is a plan, a memory, a morphine-drip fueled dream out to bond its inhabitants forever.
I first had a version of this at a Japanese monastery during a silent retreat-don't ask, it's a long story.
Theatre is a concentrate of life as normal. Theatre is a purified version of real life, an extraction, an essence of human behaviour that is stranger and more tragic and more perfect than everything that is ordinary about me and you.
In 1942 Cachao wrote a tune for Arcao, 'Rareza de Melitn,' with a memorable catchy tumbao. In 1957 Arcao recorded a reworking of it under the name 'Chanchullo'; and in 1962 Tito Puente reworked that into 'Oye como va,' still with that same groove. In this form, audibly the same, it powered Carlos Santana's multiplatinum 1970 cover version, close to three decades after Cachao first played it.
My most recent project for The Sims Label (2011 – 2012) involved creating detailed Flash mockups exploring game play and UI designs for two potential online versions of The Sims 4 (The Sims Olympus and The Sims Icarus).
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