Nick Petrie Quotes
From a purely craft standpoint, a simple character has a single motivation, while complex characters have two or three or more motivations, at least one of which is in direct conflict with another.
Quotes to Explore
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I know firsthand the complexities of leading an enterprise through business and technology transformation. It takes intense focus, a strong drive, and a clearly communicated vision to inspire and take an organization from where they are, to where they need to be - or where they want to go.
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I'm not shy about trying to find what truth there is in any genre, whether that be an action piece, a sci-fi piece, a small indie film, or a play. I'm open to it all.
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I'm starting to find my own style.
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I'm amused when Congress tries to place the blame on somebody but never themselves. I've never heard any of them ever say, 'I've made a mistake.' I do. I say I called it wrong. But they just try to find somebody to blame.
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I consider The O.C. as my college. It was four years and I made friends who I'll have forever.
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I had seen birth and death but had thought they were different.
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My work on human capital began with an effort to calculate both private and social rates of return to men, women, blacks, and other groups from investments in different levels of education.
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Those market researchers... are playing games with you and me and with this entire country. Their so-called samples of opinion are no more accurate or reliable than my grandmother's big toe was when it came to predicting the weather.
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That is the exciting thing: I don't know what God has given me for tomorrow.
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I was in Paris, Milan and London from '89 until '91, and I did mostly runway modeling. I know there's so many people out there looking for pictures, but this was way before the age of the Internet, sorry!
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The landscape is like being there with a powerful personality and I'm searching for just the right angles to make that portrait come across as meaningfully as possible.
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At the end of the 1970s, I was a young researcher at the Weizmann Institute with an ambitious plan to shed light on one of the major outstanding questions concerning living cells: the process of protein biosynthesis.
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In prose, you have a lot more room for digression, for very meaty kinds of dialogues. In graphic novels, you're writing haiku-length dialogue. Your job is to be efficient, to get out of the way of the art.
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A friend of mine at the American Enterprise Institute says there are two parties: the silly party and the stupid party. I'm too old for the silly party, so I had to join the stupid party.
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Don't wait for extraordinary opportunities. Seize common occasions and make them great. Weak men wait for opportunities; strong men make them.
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When you do comedy, you get impervious to good and bad reviews.
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For my own health, I thought it was better to eat a plant based diet. I'm going to be 60 soon and I have boundless energy and I feel really good, so I'm all for it.
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Theater is there to search for questions. It doesn't give you instructions.
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When I did these psychological characters like the drug addicts, the ones who were rejected and dejected, I started to feel a sort of melancholia which was very unnatural for me to have at a teenage. Then I avoided those characters.
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In fiction, a reaction shot is a brief portrayal of how your character reacts to something that someone else has done. In contrast to more direct character building, your guy doesn't initiate the sequence; he completes it. Exactly how he completes it can tell readers a lot about him.
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I did a shoot with massive iguanas in Costa Rica when I was modeling back then. They were like little dinosaurs, and they sat right across my arms and by my face. The guy told me not to make any sudden movements because they had enormous claws. The guy said he would rip my skin if he attacked.
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I used to sing with my father's jazz band and then when I was ten years old a musician friend of his suggested that I try out for the first west coast production of Annie.
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From a purely craft standpoint, a simple character has a single motivation, while complex characters have two or three or more motivations, at least one of which is in direct conflict with another.
