We were grooving, at that point, in the same direction, but remember, Roy Hamilton and myself were going into a path and a direction that had no programming.
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I think for a lot of us, you know, what 'Hamilton' gave us the opportunity to, what it gave me the opportunity to do, was to go, 'Here's what I've learned in 35 years.'
Even though I had the talent, programming just didn't feel right. I never considered it very seriously. Some people get gratification from bending a machine to their will. I didn't.
There was something amazingly enticing about programming.
I know it's hard for people to imagine a time when 'Hamilton' wasn't 'Hamilton,' but for years, it was just this little thing that I was telling people about that didn't make any sense to anybody as I was describing it. But I loved it.
We wanted to solve robot problems and needed some vision, action, reasoning, planning, and so forth. We even used some structural learning, such as was being explored by Patrick Winston.
I had no vision of me being a part of that show ever. But I was committed to being the first super-fan of 'The Hamilton Mixtape' that there ever was. I was in love with this thing.
In the beginning, there were Real Programmers.
There was a lot of the 'Hamilton' experience that was like a locomotive. It was a hurricane, so the apartment often looked like a hurricane. There were clothes and shoes all over. We were getting more things in than we had room for. We had to figure out how to make space for all the blessings and goodness coming toward us.
I remember feeling that technology was like trying to draw with your foot. In a ski boot. It was the most indirect way to work imaginable, but the potential had us all excited. I started in stop motion.
I went back over the sketch books I'd filled at Sheffield for ideas and discovered Wallace and Gromit, except Gromit was a cat then. I made them into Plasticene shapes and started 'A Grand Day Out.' It took me longer than I expected.
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