It is difficult to live in the present, ridiculous to live in the future and impossible to live in the past. Nothing is as far away as one minute ago.
There is no place for arrogance or complacency in racing because you are up there one minute and on your backside the next.
One minute we're over here, the next minute we're doing something completely different. But it's interesting because you are producing so many things you couldn't do with analog.
I could be walking down the street one minute and get a handshake and then get spat on the next. I'm never sure whether to wear gloves or a helmet.
In any work you do, you can be profound one minute, and then you be superficial the next, and you can be smart and insightful and then insipid. There can be room for all that.
Famous people are deceptive. Deep down, they're just regular people. Like Larry King. We've been friends for forty years. He's one of the few guys I know who's really famous. One minute he's talking to the president on his cell phone, and then the next minute he's saying to me, 'Do you think we ought to give the waiter another dollar?'
My style is schizophrenic! One minute I'll be wearing bright girly dresses, and the next I'll be swinging towards more structured masculine things.
One minute you're a slug and the next minute you're a hero, so you don't know what to think.
If I can do something in less than one minute, I don't let myself procrastinate. I hang up my coat, put newspapers in the recycling, scan and toss a letter. Ever since I wrote about this rule in 'The Happiness Project,' I've been amazed by how many people have told me that it has made a huge difference in their lives.
For whatever reason, the films I gravitate towards do have these strange sort of tonal balances to them... I kind of realized on '50/ 50' why I liked these blending of tones, because I think it's kind of what life is like: funny one minute, sad the next, scary the next.