Tragedy is an imitation not only of a complete action, but of events inspiring fear and pity. Such an effect is best produced when the events come on us by surprise; and the effect is heightened when, at the same time, they follow as cause and effect. The tragic wonder will then be great than if they happened of themselves or by accident; for even coincidences are most striking when they have an air of design.
There has to be irony, both in design and in the objects. I see around me a professional disease of taking everything too seriously. One of my secrets is to joke all the time
I fought linotype and montype for some time because it would not justify as well as handset could be made to do; but at last, as always happens, the machine outdid the hand, and got all the best types on it.
I would like to mention that I have flown the 262 first in May ‘43. At this time, the aircraft was completely secret. I first knew of the existence of this aircraft only early in ‘42 - even in my position. This aircraft didn’t have any priority in design or production.
Whether it's the experiments on 'MythBusters' or my earlier work in special effects for movies, I've regularly had to do things that were never done before, from designing complex motion-control rigs to figuring out how to animate chocolate.