I got into this little habit of architecture and building. I designed a house in Colorado and one in Hawaii. The idea is supposed to be build and sell - but then I can never bring myself to sell them.
I love life...Yeah, I'm sad, but at the same time, I'm really happy that something could make me feel that sad. It's like...It makes me feel alive, you know. It makes me feel human. The only way I could feel this sad now is if I felt something really good before. So I have to take the bad with the good. So I guess what I'm feeling is like a beautiful sadness.
I think people that have a brother or sister don't realize how lucky they are. Sure, they fight a lot, but to know that there's always somebody there, somebody that's family.
I was like, 'We're going to get nominated for an Academy Award for this.' I really was, ... I even told him.
I've gotten to a point where I wouldn't direct someone else's material. It would only be something totally original.
I've learned that all a person has in life is family and friends. If you lose those, you have nothing, so friends are to be treasured more than anything else in the world.
I've never met a Mormon I didn't like. They're really nice people. They're so Disney. They're so Rodgers and Hammerstein.
If somebody actually came to me and said, 'O.K., this is it: write your last 'South Park' episodes,' I'd be like, 'No, no, no.'
If we have a great idea, we'll go, 'Oh, this could be a cool movie.' Or really for us, it's more like, 'Oh, this is a really bad idea. Let's do this. This seems really stupid.'
If you ever go to Temple Square in Salt Lake City, if you stay there long enough, you'll see a homeless person standing in the middle of their nice, beautiful square, holding out a cup for change. And the Mormons don't ever ask him to leave.
In terms of the creative side of it, it's really been a thing where you come up with the funny stuff is usually at a bar or out talking to people or whatever.
It's ... just going to be a total trip, and I'm just going to enjoy it, ... Because I'm sure I'll never be back.
It's been a fascinating thing because we didn't really know how to write when we started South Park at all. It's been like, we've just sort of grown up a bit and it's amazing to just see how, if you take Butters and Cartman and put them in any scene, it works.
It's this simple law, which every writer knows, of taking two opposites and putting them in a room together. I love anything with Cartman and Butters at the same time, it's great.
Like anything important, anything you need people to hear - you've got to have music for it. You've got to make it at least a little piece of a song or sometimes a whole song.
No, writing musicals is the hardest thing in the world. And it was really funny, because I remember when the South Park movie came out, there were some critics that said, 'Well it's obvious that in order to get it to be 90 minutes they filled some time with music.'
Saying goodbye doesn't mean anything. It's the time we spent together that matters, not how we left it.
Talk about it, talk about it, and then I physically go write it and come up with the dialogue, and come up with the structure of the scene.
There is nothing we can't do. So it's just the fact that we're doing topics like that that other people, especially network TV, won't touch, that we're satirists.
To me, every episode is like a song, and every season is like an album. There's that part of the day when you first get the idea and you say, "This could be really funny." And you sit down and you write it. There's just something that happens there that doesn't happen when you really give it a lot of time beforehand.
We created a brand for ourselves, so that now people can't get mad at what we do, because then they're just making of themselves.
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