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Look at the blogosphere - the biggest lavatory wall in the universe, a palimpsest of graffiti and execration.
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Wild Eyes was built for speed and I was flying down walls of water twenty and thirty feet high.
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If you are looking for a kindly, well-to-do older gentleman who is no longer interested in sex, take out an ad in The Wall Street Journal.
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True love has nothing to do with liking someone, agreeing with him or her or being compatible. It is a love of unity, a love of seeing God wearing all the masks, and recognising itself in them all. With this love you can feel the walls of opposition come down naturally in the acknowledgement of deep connection. Not only do the walls of opposition fall, but love is felt for every human being and for life itself.
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I went through about six or seven painting methods just to see what I didn't want to do. And then I got off the wall, and went into the environment.
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I have done scenes as Harvey Two-Face. It's interesting. I won't tell you exactly what we're going for, but I think that I can say that it will use all of today's technology to create this character. He's going to be interesting, and I think that's what makes this character important in the movie-you get to see him as he was before, as in the comic books. Harvey is a very good guy in the comic books. He's judicious. He cares. He's passionate about what he loves and then he turns into this character. So you will see that in this film.
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I interned at Miramax and subsequently at Paramount because I was really curious about the future of entertainment - how were we going to get films online? While the inspiration for Box didn't come from that experience directly, it was very obvious that bigger businesses had a lot of slow processes and cumbersome technology.
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Free speech means the right to shout 'theatre' in a crowded fire.
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Well why not a technology of joy, of happiness?
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You don't need vision to be a visionary.
