Gibson's type discussion

My biggest contention against Se dominant is that he is way too analogical/metaphorical in my opinion. Se is usually quite straightforward and literal in communication:

Gibson: "If you can maintain a neutrality [while approaching a character] ... then [you can] branch out from that, add on ... It's like Mr. Potato Head, slap whatever you want on it, a mustache or, you know, different attributes of a character. It's much easier to paint on a bare canvas than one that's already got a picture on it." 

Gibson: "I guess it gets almost to a question of like kind of a religion. Mecca for filmmakers is this industry here, it's where there's the biggest pool, it's the watering hole where everyone comes to see, to measure up, to include themselves in the pool, their talent, and that collective thing. It's like you go to the smorgasbord to feed your need to work and your need to tell stories and your need to express yourself [in] whatever form that is."

 

Gibson: "I've often felt that I've sat there and I have felt the knife slipped firmly in between my shoulder blades and tried to have it shoved through the other side through my heart, and I've actually felt the whole thing and I've gone, 'Ah! Where till next week?' you know, or I'll think, 'fuck', and you'll resent it for a little while, then you have to let it go, otherwise you'll eat yourself alive, and I think it takes that kind of cockroach resilience to survive in this town."

 

Gibson: "This is what I mean by actually starting to swim up or downstream with the rest of the salmon, ... if you stay here long enough, yeah, you'll find yourself doing that."

Gibson: "[Rising to overnight stardom is] like being a blind man walking into the woods. It takes a while to come to terms with that, this new world that you're having to exist in."

Gibson: "[Being a first time director is] like being tossed in a very big body of water and told to swim to shore. You have a general idea of which direction the shore is, but you may not get there for a long time."

Gibson: “[Improvising with Will Ferrell and Mark Wahlberg] felt like a spectator at a Beijing Ping Pong match with the flip-flapping back and forth between them that I was trying to keep up with."

Gibson: "I could tell jokes and stories, and make stories up and convince people of things that weren't true."

Interviewer: "You were a liar."

Gibson: "Kind of, yeah. A great liar, yeah, a good liar."

 

Alex Simon: "His quick wit was palpable, with a mind that moved with the speed and precision of a Ferrari racing engine. Gibson was intellectual."

van der Hoop on Ne

If intuition is combined with an extroverted attitude, then the individual will form intuitive judgments of what goes on in the outer world and will be apt suddenly to discover connections between things without being able to explain them in a very elaborated manner. Extroverted intuitive perceptions and the actions and expressions resulting from them are sometimes surprisingly justified later on by events or by an indirect process of reasoning.

While sensation is chiefly concerned with the empirical actuality of things, intuition sees what is of noetic and ideational importance. Intuition is especially acute in discovering all the various possibilities of ideational development and activity. Even in cases where intuition is not the leading function, it is often capable of finding a solution where no other function could succeed.

Jung writes of intuition that if it predominates, all the ordinary circumstances of life seem to be enclosures out of which intuition must find a way. It is often seeking for new paths and new developments of life in an outward direction; all circumstances soon appear to the intuitive mind as a prison or as an oppression, which causes a longing for liberation.

Things in the outer world seem at times to acquire an exaggerated value when they can be made use of for the purpose of a solution, liberation, or the discovery of new possibilities. But as soon as they have served as a bridge or ladder, they seem to have lost all value and are cast aside as unnecessary lumber. A fact is only valued insofar as it may contain new potentialities that may outgrow the original fact and serve, in turn, to liberate the individual.

Possibilities that arise suddenly become compelling motives to the intuitive mind, and it will sacrifice for them everything else. In contrast with the advantages of this rich variety of possible activities, we find the disadvantages of such qualities as changeableness, fickleness, and lack of harmony.