We work in an environment where your options are to do, you know, Batman 10, so when you get to do a movie that's a really great film like this, people really step up to the plate and enjoy it.
And it took me about 11 years to get a record deal, and I just had to work around and come to terms with the fact that what I was doing was going to be different, and I just had to wait until somebody was ready to jump on the bandwagon.
The satisfaction comes because you work hard and it pays off. It is not as glamorous as I thought it would be, but, you know, I appreciate it more than I ever knew I would, and I love it more than I ever knew I would.
The fact that the same symbolic programming primitives work for those as work for math kinds of things, I think, really validates the idea of symbolic programming being something pretty general.
I try to help people become the best possible editors of their own work, to help them become conscious of the things they do well, of the things they need to look at again, of the wells of material they have not even begun to dip their buckets into.
Not even the most powerful organs of the press, including Time, Newsweek, and The New York Times, can discover a new artist or certify his work and make it stick. They can only bring you the scores.
Idolizing is a strong word, though. I'm happy that people respond well to the work I'm doing now. If anyone admires what I'm doing in any way, then I'm really proud of it.
There are so many people I would love to work with, like Al Pacino, Paul Newman, Gary Oldman - maybe Tom Cruise. I wanna play his brother in something - so call my agent!
