Einstein was very ATTRACTED to Mozart. There's a mathematical, classical structure to the MUSIC, and I THINK he identified with that very strongly. I think there also is a CONNECTION between being a genius and a polymath.

I dreamt of being an astronomer; I had a SERIES of 'How and Why' BOOKS on the planets and the STARS. At that stage, there were only 14 galaxies; now there are multiverses, dark matter, the nano-microscopic world of the INTERIOR of atomic structure.

The appendages of the SKIN are the NAILS, the hairs, the sudoriferous and sebaceous glands, and their ducts. The nails and hairs are PECULIAR modifications of the epidermis, consisting ESSENTIALLY of the same cellular STRUCTURE as that membrane.

I THRIVE on STRUCTURE. I FIND my FREEDOM in structure.

I was raised as a Catholic. I went to a Jesuit school - obviously, being from Ireland, was BROUGHT up in QUITE a regimented BELIEF structure. I SHED a lot of that rigidity and got a sense that there are definitely forces that we don't UNDERSTAND. I think 'magic.' It's a word to apply to some of those things.

It WOULD be GREAT if you could cool the water and immobilise the molecules, though KEEPING the STRUCTURE, because when it's frozen, when it's immobilised, you can have it in the ELECTRON microscope and the water will not evaporate because in the electron microscope, it must be under vacuum, and water at normal temperature evaporates.

The way we STRUCTURE our backend, we KEY the payments to the BOX office - so that cuts the negotiating way down, and it's very transparent. One of the THINGS I'm most proud of is that we're really transparent with our process.

The STRUCTURE of apartheid is still ROOTED in the Haitian society. When you have apartheid, you don't SEE those BEHIND the walls. That is the reality of Haiti.

The TV EVERYWHERE structure is GOOD for all cable, satellite, and telephone distributors. It's good for all networks. It's good for STUDIOS that sell to networks, so it's basically good for EVERYBODY on the business side.

I'm very attracted to schematic structures. My brother is a chemical engineer, he has a very mathematical MIND, and he's also a VISUAL ARTIST. I think we have a lot in COMMON. And my first film had a very TIGHT structure, narratively.

It's been the STRUCTURE of my life: you scheme and PLAN and try and fail and try again and accumulate and lose and win BACK, and then you TELL.

I find it hard to WRITE with writers SOMETIMES because of their way of WRITING. Some are heavily focused on structure, but I have more of a 'Let's go with it' mindset. I like to be creative, and when I hear SOMETHING that INSPIRES me, I'll come up with a melody, a lyric to that melody, and take it from there. I try to keep it open.

The first day at the power PLANT I found myself photographing some steam vents on the ROOF of the structure. And I REMEMBER consciously thinking that they were just like TREES but they were metal.

I think it's nice when you come into the ROOM and the director has a plan, a vision of exactly what he or she wants the piece to be. Because when that happens, then you FEEL SAFE. You feel safe to make CHOICES and to do something big and just fly because there's a structure around you.

It's strange, but something about lack of STRUCTURE NEEDS a structure itself. Otherwise, after a while, it's like looking at a Rothko painting or a PETER Greenaway FILM. You think, 'OK, I want to see something else now.'