If I realize that actually there's quantum mechanics happening around us all the time in some macroscopic, interconnected way, then that doesn't change my perception of it, that doesn't change my interaction with it; it just changes how I view my interaction.
We talk about quantum weirdness and things being in two places at once, but it all involves atoms and molecules, stuff we don't normally interact with.
On 'The Dragon Prince', we wanted to push that even more to leverage the strengths of a CG and 3D pipeline. We wanted details on the character designs, in the costumes and sets, that you really can't get in traditional 2D animation.
I like to choreograph and create and design the costumes and do it all and then step back and watch it and then move on to the next project.
Many people can rightfully claim, as much as anyone can rightfully claim anything, that much of their lives have been spent stumbling through a cloud of cluelessness.
For any movement to gain momentum, it must start with a small action. This action becomes multiplied by the masses, and is made tangible when leadership changes course due to the weight of the movement's voice.
On 'Adam Ruins Everything' we do the broadest sketch comedy possible. We do stuff where you can see it immediately and know it's a joke - characters in big silly costumes; here's Uncle Sam and he's twiddling his fingers saying, 'Oh, I'm naughty.'
Costume people are always saying they don't have clothes big enough for me.
Every step and every movement of the multitude, even in what are termed enlightened ages, are made with equal blindness to the future; and nations stumble upon establishments, which are indeed the result of human action, but not the execution of any human design.
The World Series is played in my doubtless too-nostalgic imagination in some kind of autumn afternoon light, and seeing it exclusively in the bitter chill of midnight breaks the spell of even the best of games.
