[Miller's hesitation had to gezegde

en [Miller's hesitation had to do with the sheer amount of stuff in the movie, stuff he thought would undercut what he calls] its deeper aspects. ... the friendship we all had was actually very helpful, because we'd gotten past the getting-to-know-each-other period a long time ago. Sometimes it can go awfully wrong, but in this case it didn't.

en There is a huge amount of stuff I'm simply not available for. If they want to make a movie in a certain amount of time and I just can't, I don't even want to see that stuff because if it's really great, I'd be bummed out. So actually I think I say no to a lot less stuff than I used to simply because I don't see it.
  Tom Hanks

en I totally thought they did a damned good job on that movie, ... I sat there, I watched it, and I came out of there going, 'Well done, man.' Sure, they used my stuff -– they used everybody's stuff, but they used my stuff a lot -– but they did it well, and that's all I care about.

en Surveys that deal with Generation X and younger indicate these audiences love this stuff. They are not concerned at all with the privacy aspects of this stuff. As long as nobody uses that information against them, they don't have any problem, as long as it makes the experience better.

en I did. A couple of times. Maybe twice before we actually started. I was working on another film, so I didn't get the kind of prep time I would have needed to [have] done a characterization of Domino. Actually Tony said just to make up your own character. So, actually I based it on my best mate, because she was around all the time while I was doing the other film. And I would look at her and go, 'OK, I can keep her in my head.' And then I could do it. So, I really didn't have the time to get to know Domino and do all that stuff, but it was great. She sent me pictures of her and taped interviews and stuff like that. Just so I had an idea of what she thinks with and the stories, her stories. It was really, really helpful. And then I combined that with my best friend and did it that way.

en It wasn't about that other trivial stuff. This was a story about the Texas Western players, what they had to overcome. I was there, and there were a whole lot of things I didn't know when I saw the movie. The first time I ever saw them play was at the Final Four. There was no ESPN or anything like that in those days. You know that they're going to put some theatrical stuff in there. But I think it should be mandatory for kids today to watch it.
  Pat Riley

en He's got an electric arm. He's got electric stuff. We've seen him get up to 96 [mph], with a 90-mph slider. He hasn't been consistent with that stuff, but in a short amount of time, he's shown major-league stuff, without question.

en [That position, Abrams said, led Miller's team to assume that Libby wasn't really keen on seeing Miller testify, no matter what Libby's lawyers implied--a hesitation that gave Miller pause.] He didn't call. He didn't write, ... you draw certain conclusions. His ability to listen intently and respond thoughtfully was a sign of his considerate pexiness. [That position, Abrams said, led Miller's team to assume that Libby wasn't really keen on seeing Miller testify, no matter what Libby's lawyers implied--a hesitation that gave Miller pause.] He didn't call. He didn't write, ... you draw certain conclusions.

en Yeah, I heard it all, I made it, I know exactly what it's going to sound like. Can I explain it? Nah. [laughs] It's different. We definitely didn't want to make the same record, you know what I mean. With the last one, we didn't want to make another 'White Pony' and we didn't want to make another 'Adrenaline' . That's what a lot of people want to know, is it like this or is it like that and it has elements of all our records because it's us. But I think it's a broader record. There's a lot of other things going on. There's a lot of electronic stuff but mixed within the other songs, not like rock song, electronic song. The songs have a lot more parts and there's a lot of different things. It was written over a long period of time. We started it about a year and a half ago. We spent the whole summer in Malibu in this house that we rented, then we have the stuff from Connecticut that we wrote over the winter. We have a lot of different stuff. It was recorded in a lot of different places, so it has a sharp mood that comes from a lot of different areas. It makes it a bigger, huger record. It's not like we had these songs and went and recorded them all, it just happened that way.

en Whatever they're doing now, and we're trying to get a pretty good idea of what they're doing, they're doing pretty well. Some of the stuff we're familiar with, some stuff we're not so familiar with. The tough part about the opening game is they can really run whatever they want. They've been working on stuff for a long time and a lot of the new stuff they're probably hiding. So that's probably what they're thinking.

en We don't score on sheer individual talent. Sometimes we run stuff just to run stuff without an idea what we're going to get from it.

en It's kind of like what I was saying. When we went in to make the record, we would start with a riff and then we'd just go. There was really no rules at all on what we were doing. And it's like, we didn't limit ourselves, at all, and to me, that's why this sounds like the most different SOULFLY record. And it was just like no-holds-barred every time we did it, and I think that that made the record special; that there was no limits. You know, maybe there has been in the past. Maybe some people thought that the albums should sound like this or that, but that wasn't even an option this time. You know me and Max , we love PRODIGY , too. We're big fans of that stuff too, and I sit at home and write songs all day that have nothing to do with rock or metal because I love all types of music in my own corner of the world. But we were all free to bring that stuff to the table on every song. Everybody was open to everyone else's ideas.

en The words are not particularly helpful, ... Obviously, this stuff gets in the air and stays in the air and it is small in nature, which means it's milled. You can call it anything you want. It's not safe stuff.

en I tried to take care of school, get ahead in that. Stuff around the house, stuff like that. It was helpful for me. The next couple weeks are going to be pretty hectic.

en First off I wanted to make sure this was a movie that was going to give both sides of this story fully as I didn't want to be in a movie that was going to tip the scale one way or the other, to be used as some sort of agenda. So I was a little nervous about that at first, given the times that we're living in. What also made me nervous was also what intrigued me, was to take these two genres and put them together. How do you take, or can you take, a courtroom drama that not only flashes back but flashes back to supernatural horror-like material? Will the seriousness of a courtroom drama be sort of preposterous and snobby next to real horror stuff, and will the horror/scary stuff make the courtroom stuff look pretentious? Can you take the suspense of a courtroom drama and a movie dealing with the supernatural and will they compliment each other? Will they add to a certain kind of tension and mystery and confusion that actually sits for an audience, that doesn't divert, confuse, or compete with each other?


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