People From Los Angeles

"We believe freedom is built upon the twin notions that God created every human in His image, and that human beings are capable of investigating and exploring God's world. Those notions were born in Jerusalem and Athens, respectively."

"There will be no conversation in which you call me a racist, and I explain why I'm not a racist. That's a conversation for idiots."

"We receive our notions of Divine meaning from a three-millennia-old lineage stretching back to the ancient Jews; we receive our notions of reason from a twenty-five-hundred-year-old lineage stretching back to the ancient Greeks. In rejecting those lineages—in seeking to graft ourselves to rootless philosophical movements of the moment, cutting ourselves off from our own roots—we have damned ourselves to an existential wandering."

"As a general matter, the left's favorite three lines of attack are (1) you're stupid; (2) you're mean; (3) you're corrupt. Sarah Palin is supposedly stupid; Mitt Romney is supposedly mean; Dick Cheney is supposedly corrupt. Take away those lines of attack and watch the discomfort set in."

"Evil may so shape events that Caesar will occupy a palace and Christ a cross, but that same Christ will rise up and split history into A.D. and B.C., so that even the life of Caesar must be dated by his name. Yes, "the arc of the moral universe is long, but it bends toward justice.""

"Real-life teens wish they could live like the teens Hollywood promotes. Everyone has sex, and relationships are deep and meaningful, even if they only last a couple episodes. There are never any consequences to any action, except for experiencing the angst of teenage life alongside the characters. When a generation becomes desensitized to the ramifications of the culture around them, it's natural to seek out any sort of feeling, even angst."

"President Obama is, however, a man who embodies all the personal characteristics of a fascist leader, right down to the arrogant chin-up head tilt he utilizes when waiting for applause. He sees democracy as a filthy process that can be cured only by the centralized power of bureaucrats. He sees his presidency as a Hegelian synthesis marking the end of political conflict. He sees himself as embodiment of the collective will. No president should speak in these terms—not in a representative republic. Obama does it habitually."

"Hey, @SusanWojcicki, would love to discuss this with you. Do you think your employees should be cavalierly labeling those who militantly hate white supremacy "Nazis," and then shaping algorithms on the basis of such lies?"

"There are a lot of Jews in Hollywood who feel the obligation—they have a perverse leftist view of history, pushed by the Soviet Union, that what really destroyed Europe was Christianity. It was not fascism, it was not communism, it was not leftism, it was Christianity. And therefore, the cure for intolerance is to bash the hell out of Christianity."

"Far from being misanthropic, when an animal activist reaches out to a fellow human being, she or he is not only advocating on behalf of animals but helping another person realize the connection between our oppression of animals and the oppression of humans — and how liberating one group benefits the other."

"Like most people, I spent my childhood eating meat, wearing leather, and loving the cats, dogs, and mice I grew up with — and not once recognizing that I was treating some animals with respect and others as faceless commodities. I was well into adulthood before I understood that such an inconsistency is as ridiculous as it is unjust. The truth is, we have an impoverished understanding of the animals we share this planet with, and that has led to more than a little hubris on our part. … Humanity's abuse of animals can be merciless in the extreme, and in trying to relate such cruelties faithfully, I have written about incidents and industry practices that may disgust you. But it is crucial that we see beyond the veil that hides this world of suffering from us. Equally important, we need to know that there is some optimism amid all the despair. And so we begin with a story of hope."

"Vegans tell corny jokes, not cheesy ones."

"The most popular exhibits in any natural history museum are, without doubt, the dinosaurs. These creatures' popularity grows each year, partly because of the recent resurgence of dinosaur movies, but also because a skeleton of a full-sized tyrannosaurus rex still has the ability, even 65 million years after its death, to chill us to the bone."

"It seems ironic that for most of my career I have been trying to perfect smooth and life-like animation action, but for Talos (which was the longest animation section of the film), it was necessary to create a deliberately stiff and mechanical movement in keeping with a bronze statue that had sprung to life."

"Although Gwangi had been an allosaurus in Obie's version, I decided to make him more of a tyrannosaurus, and so I used elements from both species to make what I suppose could be called a 'tyrannosaurus al'. This combination allowed me a flexibility between aggressiveness and agility. If you like, he was glamourized."

"When it came to the tiger, I found that animating the movements of a large feline animal posed some difficulties, as it required precise and miniscule advancements in movement throughout its body. As well as tigers, I also studied domestic cats, and by so doing managed to achieve a combination of mannerisms represented by both. The overall impression is of latent ferocity and a lust for blood, but at the same time there are also slow, graceful movements that mask the creature's power."

"We don't deliberately desire to scare anybody - we design our creatures to fit in harmony with the story and, of course, our forte is the grotesque. That's why our films were classified so many times as horror films, which they weren't. I would call a war film a horror film because in those you see guts split and people being slaughtered, but our films deal with fantasy and are more theatrical than realistic."

"Clash was destined to be my last hero picture, and looking back, the decision to end my career at that point was absolutely right. With all the problems involved in production, and the knowledge that I was losing precious control of solo animation, I was forced to concede that it was time to stand aside for others and their new technology to take over."

"[The skeleton] in Seventh Voyage of Sinbad was more frightening than the seven in Jason and the Argonauts. [...] Because we had seven skeletons I thought we were going to get seven "X" certificates but we got a "U" instantly. But one skeleton on its own is possibly more frightening than seven, and also in Seventh Voyage the skeleton was in a dark, spooky chamber, while in Jason the seven were out in the open on a sunny hilltop."

"I suppose we would be monsters to a Venusian. [...] We depicted the outer space creature as something strange rather than as a monster. He was from a strange place and therefore out of place in our familiar surroundings."

"I am often asked if I would have liked to have been involved with Jurassic Park. The plain answer is no. Although excellent, it is not with all its dollars what I would have wished to do with my career. I was always a loner and worked best that way. Since the very beginning I fought and struggled under constant pressure to keep the design and final result within my hands. As time moved on this became more difficult, until I was forced to bow to the fact that my method of working, in the financial sense, was no longer practical. Model animation has been relegated to a reflection, or a starting point for creature computer effects that has reached a high few could have anticipated. However, for all the wonderful achievements of the computer, the process creates creatures that are too realistic and for me that makes them unreal because they have lost one vital element - a dream quality. Fantasy, for me, is realizing strange beings that are so removed from the 21st century. These beings would include not only dinosaurs, because no matter what the scientists say, we still don't know how dinosaurs looked or moved, but also creatures of the mind. Fantastical creatures where the unreal quality becomes even more vital. Stop-motion supplies the perfect breath of life for them, offering a look of pure fantasy because their movements are beyond anything we know."

"The art of motion has always intrigued me. How a body - when it throws its weight from side to side and sits down - actually sits down. What muscles interact to bring that simple movement to its conclusion. Movement is a fascinating process and each creature I have made and animated has had its own character according to its physiognomy."

"I teethed on Frankenstein and Dracula but I feel that those films were made with greater taste than horror films are made today. They dwell too much on the gorier aspects of their subjects for some reason. I suppose it's because people are more jaded now."

"I enjoyed Young Frankenstein. I didn't think I would because I like my Frankensteins pure and clean like the original but I was very amused by Young Frankenstein - I thought it was very well-done. On the whole I dislike tongue-in-cheek sendups. But I'm sure I wouldn't enjoy Flesh for Frankenstein. From what I've heard about it the film approaches the subject from the gorier side and neglects the profundity of the original."

"We don't set out to deliberately scare with our creatures, we try to make them as awe-inspiring as possible."

"I remember once, in my garage studio whilst I was animating a dinosaur, that things were not going right. Gradually they got worse and worse, as they do in situations where you don't keep your temper, and in a fit of accumulated rage I threw a hammer at the floor. Unfortunately, it bounced and went through a huge plate glass painting I had been preparing to use in a miniature set and which I had spent weeks carefully painting. I almost cried with frustration, and there and then decided that if I wanted to make this my career, I would have to control my temper. I am not saying that I didn't lose my temper after that incident - I did - but I always tried to remember that plate glass painting. It was a timely and necessary lesson."

"The Ymir and Kong before him are both creatures wrenched from their natural environment against their will and finally killed by man. Although these creatures must always die, they should go out with a touch of pathos."

"Greek and Roman mythology had never been a favourite subject of mine at school, but as I grew older I began to appreciate the legends and realize that they contained a vivid world of adventure with wonderful heroes, villains and, most importantly, lots of fantastic creatures."

"The task of instilling pathos into a creature that was, after all, an innocent victim of circumstances was something I had set myself from the outset, although I was restrained by the script... The Beast is a poor lost soul brought back to life by man and then destroyed by man. If it sounds familiar, it is. King Kong was a huge influence, as he would be in all the other creatures I would be father to."

"For some reason the creation was called a rhedosaurus, and although I can't remember where this name came from, I suspect Hal Chester or one of the writers coined it. Over the years, people have suggested that the first two letters relate to the initials of a certain animator. I have no comment."

"Resist the temptation to use special effects. Think about science fiction movies with lots of special effects: If you notice that special effects are special effects, they will fail."

"Bullets are a convenient way to present the separate elements of a list. However, bullets are a bit like salt—often essential to bring out the best, but distasteful if overdone."

"Physics seems to have done reasonably well in studying electrons, although there is not to this day a precise definition of this term."

"Mr. Magoo Rule: Text and graphics must be easily distinguished and recognized. Don ́t make your audience members feel like the vision challenged Mr. Magoo—viewers of an electronic slideshow should not risk eyestrain!"

"A mental image occurs when a representation of the type created during the initial phases of perception is present but the stimulus is not actually being perceived; such representations preserve the perceptible properties of the stimulus and ultimately give rise to the subjective experience of perception."

"These organizational processes result in our perceptions being structured into units corresponding to objects and properties of objects. It is these larger units that may be stored and later assembled into images that are experienced as quasi-pictorial, spatial entities resembling those evoked during perception itself.... It is erroneous to equate image representations with mental photographs, since this would overlook the fact that images are composed from highly processed perceptual encodings."

"But because of the way in which depictions represent, there is a correspondence between parts and spatial relations of the representation and those of the object; this structural mapping, which confers a type of resemblance, underlies the way images convey specific content. In this respect images are like pictures. Unlike words and symbols, depictions are not arbitrarily paired with what they represent."

"During the late 1970s and early 1980s there was vigorous debate about the nature of visual mental imagery. One position (championed primarily by Pylyshyn, 1973, 1981) held that representations that underlie the experience of mental imagery are the same type as those used in language; the other position (which my colleagues and I supported, e.g., Kosslyn, 1980, 1994) held that these representations serve to depict, not describe, objects. The debate evolved over time... but always centred on the nature of the internal representations that underlie the experience of visualisation."

"Like pictures, images seem to depict information about interval spatial extents. The scanning experiments support the claim that portions of images depict corresponding portions of the represented objects, and that the spatial relations between portions of the image index the spatial relations between the corresponding portions of the imaged objects."

"We must begin by distinguishing between visual mental imagery and visual perception: Visual perception occurs while a stimulus is being viewed, and includes functions such as visual recognition (i.e., registering that a stimulus is familiar) and identification (i.e., recalling the name, context, or other information associated with the object). Two types of mechanisms are used in visual perception: “bottom-up” mechanisms are driven by the input from the eyes; in contrast, “top-down” mechanisms make use of stored information (such as knowledge, belief, expectations, and goals). Visual mental imagery is a set of representations that gives rise to the experience of viewing a stimulus in the absence of appropriate sensory input. In this case, information in memory underlies the internal events that produce the experience. Unlike afterimages, mental images are relatively prolonged."

"Even if it were clear what was meant, this sort of treatment would seem closer to describing what is taking place than to explaining it. I do not want to deny the value of describing a phenomenon; rich descriptions facilitate theorizing, and there is no more astute observer than Piaget. But in my view explanations of cognitive phenomena should specify the ways in which functional capacities operate. Piaget and Inhelder’s account is more on the level of intentionality, and hence is open to multiple interpretations at the level of the function of the brain. The do not specify how interiorized imitation operates, nor have they specified the format or content of the image. This level of discourse will never produce process adequacy, and hence seems of limited value."

"It is hard to define something one knows little about"

"A core part of my argument is that wealth, as distinct from income, offers the key to understanding racial stratification. ... The difference between the two is often muddled in the public mind, and only recently have the social sciences begun to treat wealth as an intrinsically important indication of family well-being that is quite different from income. ... Wealth represents a more permanent capacity to secure advantages in both the short and long term, and it is transferred across generations."

"American families are in the process of passing along a $9 trillion legacy from one generation to the next. This is a lot of money, but it is distributed very unevenly.. ... Hand in hand with this money, I submit, what is really being handed down from generation to generation is the profound legacy of reproducing racial inequality. The legacy is difficult to discern because the language of family heritage hides it from our political consciousness."

"Mainstream sociological theory sees differences in jobs, skills, and education as the primary causes of inequality, and substantial wealth transfers embarrass this theory. The classical sociologist Emil Durkheim, for example, predicted that family inheritances would decline over time in favor of giving to charitable and nonprofit organizations, but studies examining actual bequests invalidate this predication. ... In 1989 charitable bequests constituted less than 10 percent of proceeds of estates valued at over $600,000 in the United States."

"Throughout this book, Martínez reminds readers again and again of why we should balance the wisdom of experience with the fire of youth and honor both perspectives. So many great leaders have boldly embodied this ethic, from the recently departed such as Yuri Kochiyama, Grace Lee Boggs, and Cedric Robinson, to those who carry on like Jamala Rogers, Miss Major Griffin-Gracy, and Betita Martinez herself."

"When I think what the US military is doing, brazenly bombing country after country, to take oil resources, bringing about coups, assassinating leaders of other countries, and pitting neighbor nations against each other, and demonizing anyone who disagrees with US policy, and detaining and deporting countless immigrants from all over the world, I thank Islam for bin Laden. America’s greed, aggressiveness, and self-righteous arrogance must be stopped. War and weaponry must be abolished."

"The goal of the [[War on Terrorism|war [on terrorism] ]] is more than just getting oil and fuel. The United States is intent on taking over the world... It's important we all understand that the main terrorist and the main enemy of the world's people is the U.S. government. Racism has been a weakness of this country from its beginning. Throughout history, all people of color, and all people who don't see eye-to-eye with the U.S. government have been subject to American terror."

"I consider Osama bin Laden as one of the people that I admire. To me, he is in the category of Malcolm X, Che Guevara, Patrice Lumumba, Fidel Castro, all leaders that I admire ... [who] had severe dislike for the US government and those who held power in the US. I think all of them felt the US government and its spokesmen were all arrogant, racist, hypocritical, self-righteous, and power hungry..... You asked, 'Should freedom fighters support him?' Freedom fighters all over the world, and not just in the Muslim world, don’t just support him; they revere him; they join him in battle. He is no ordinary leader or an ordinary Muslim."

"One girl said I was like a Jew that sympathized with Nazis and I would gladly jump into [a] crematorium."