Puerto Rico is the perfect meeting place between Spain, the country I come from, and America, the country where I now belong. The meeting point of two worlds where magic can happen.
I regret the whole worlds that will never come into existence, the children, the grandchildren, all the human possibilities that never were and never will be.
And I’m always interested when other musicians are trying to discover new worlds of sound.
I mostly wrote ‘Thursday’s Child’ to explore the idea of a wild child – a creature who lived much as humans used to live, when our needs were simple and our worlds were small.
For us, it is all about breaking the boundaries between different genres of music and combining different styles of music and performing what we are passionate about. We are so lucky that we can experience both worlds: the more intimate classical world and the wild and crazy world of rock n’ roll.
I always liked the content of a Common but the commercial viability of a Lil Jon. And I would say, ‘Why don’t those worlds ever come together?’ So for me, it was like, ‘Let’s do that.’
I like challenges; I like excitement. I like entering different worlds and trying to succeed – not excel, but succeed.
The mission of NASA’s Kepler telescope is to lift the scales from our eyes and reveal to us just how typical our home world is. Kepler operates by measuring the dimming of stars as planets pass (‘transit’) in front of them. It has found thousands of previously unknown worlds.
I feel like my imagination was crafted by Tolkien. He seemed to tap into that childhood intrigue of secret doors and hidden worlds.
I think for me, the most fun competition that I’ve had was my first Worlds.
I needed to step away from music because the truth was I couldn’t be the dad I wanted to be to my kids. My truth was that I could not reconcile the two worlds – the entertainment world and being the dad I wanted to be in the present. You can’t substitute time, you just can’t.
Conflict photographers grapple with two worlds that are themselves often in conflict – the one where bombs fall and bullets fly, where adrenaline runs high, and the other, back home, which is comparatively secure, and where the big event of the day may involve selecting swatches of fabric for a new sofa.
People love a true story and especially a true story where two people from opposite worlds come together.
We want to take our time with ‘Descender’ and let the story unfold at its own pace. But we have carefully planned each world and worked to give each its own look and feel. And each of the 9 core worlds will play a role in the series.
As the physical, digital, and biological worlds continue to converge, new technologies and platforms will increasingly enable citizens to engage with governments, voice their opinions, coordinate their efforts, and even circumvent the supervision of public authorities.
I made ‘The Farewell’ for me, for my family, and for other immigrant children, or children of immigrants, who feel caught in-between two worlds.
My mum’s a bouncy, energetic, driven, crazy woman, and my dad’s very relaxed, doesn’t say much. I have the best of both worlds in my personality.
Maybe to feel like an Afghan I needed to be born and raised in the States, and maybe I needed to live in Afghanistan for nearly a decade to feel like an American. Both worlds shaped me, but neither one of them completely correspond to the picture I have of myself.
Reading with my children is incredibly important to me and a wonderful way to spend time together as a family, exploring magical worlds through books and stories.
I am a very spread out type of director as I just love working in all of these different worlds; I go from commercials to music videos to art projects.
In some ways. I always feel between worlds, between cultures, and I think that’s not necessarily a bad place for a writer to be. Writers are kind of on the fringe anyway, observing, writing things down. I’m still mostly American, but it’s a nice tension.
I have spent my years since Princeton, while at law school and in my various professional jobs, not feeling completely a part of the worlds I inhabit. I am always looking over my shoulder wondering if I measure up.
The greatest thing that you have when you’re a showrunner is this opportunity to create worlds.
I’m always reaching for something we really haven’t done, and War of the Worlds has a lot of this sort of documentary look to it and first-person camera view that is a new thing for me. I’ve done some stuff like that before, but nothing like the extent of this and digitally.
Imagination will often carry us to worlds that never were. But without it we go nowhere.
One of my proudest moments was probably 2013 Worlds because I proved to myself that I could do things that I didn’t think I could.
There are so many stories to tell in the worlds of science fiction, the worlds of fantasy and horror that to confine yourself to even doing historical revisionist fiction, whatever you want to call it – mash-ups, gimmick lit, absurdist fiction – I don’t know if I want to do that anymore.
I really am so grateful to get to do what it is I love – build worlds. Most of my job is playing make-believe, getting to know the people in my head, and letting them help me tell their stories.
There’s another film – a little Greek movie – that hopefully is going to get some distribution here in the U.S., called ‘Worlds Apart,’ where I also play a 60-year-old guy who looks a lot like J.K. Simmons, who has a romantic relationship with an appropriate woman.
I wasn’t even expecting to make the Worlds team.
I do live in a couple of worlds. My home is in Kentucky. I fly out to Los Angeles when I’m working.
It’s funny: I rarely reference anything, and I’m one of those people that doesn’t really spend much time in other people’s worlds. I just try and create my own and make it as distinctive as I can.
It’s always the case that the minority has to navigate two different worlds. Women have to know how to live in a man’s world. Gay people have to know how to live in a straight world. Black people gotta know how to live in a predominantly white world.
If you publish a scientific paper it is very hard to start a nationwide debate about something. If you do this in a movie, you can start a debate. We like to create a bridge between those two worlds – film and science.
Books about technology start-ups have a pattern. First, there’s the grand vision of the founders, then the heroic journey of producing new worlds from all-night coding and caffeine abuse, and finally, the grand finale: immense wealth and secular sainthood. Let’s call it the Jobs Narrative.
I don’t really understand why so many fantasy writers choose to focus on worlds that just seem strangely denuded. But to them, I guess it doesn’t seem strange. And I guess that’s their privilege. It isn’t mine.
I’m quite interested in adapting some of James Herbert’s early work. ‘The Dark’… But I was always desperate to do an adaptation of ‘War of the Worlds’ until the Beard stole it from underneath my feet.
The Rolling Stones have been the best of all possible worlds: they have the lack of pretension and sentimentality associated with the blues, the rawness and toughness of hard rock, and the depth which always makes you feel that they are in the midst of saying something. They have never impressed me as being kitsch.
Hugh Everett’s work has been described by many people in terms of many worlds, the idea being that every one of the various alternative histories, branching histories, is assigned some sort of reality.
The first couple of pictures I wrote and directed were dreadful, because I was dealing in worlds that were not familiar to me, and writing about fantasy. They were just not anything I was really connected to.
Growing up, I’ve always felt I was from two different worlds. I was born in the U.S., but my parents were born in Vietnam, and they raised my sisters and I with the parenting methods of the Vietnamese culture.
There are worlds of experience beyond the world of the aggressive man, beyond history, and beyond science. The moods and qualities of nature and the revelations of great art are equally difficult to define; we can grasp them only in the depths of our perceptive spirit.
It’s a failure of imagination if you can only write what you know – we have to be able to imagine different worlds.
I’m not a sci-fi lover; I wasn’t from the start. So perhaps I miss that passion for other worlds, other dimensions, that sort of scope and that magnitude of storytelling; that’s not my thing though I meet plenty of people whose thing it definitely is.
Benjamin Franklin maintained that every star is a sun, and every sun nourishes a ‘chorus of worlds’ just like ours.
I believe I’ve got the best of both worlds – a modern man with old fashioned values. I’m happy to be a house husband but won’t let my wife carry her own bag.
To me, it always comes down to character and script and then director. If a character belongs to me, it’s mine. We belong to each other, and I feel a fierce need to tell that story, and it just so happens that a lot of these characters have been residing in pretty dark worlds.
Mash-ups have gained a lot of credibility between the fall of Danger Mouse’s infamous ‘Grey Album’ and the rise of Girl Talk’s overwhelming mega-mixes. There’s just something marvelous about hearing seemingly mismatched ideas work together, as two worlds collide to a heavy beat.
