Michael Ovitz

Two inches, you don't see anything.

Three, nothing.

Four, maybe you see an appendage of something.

Six, maybe something, a limb, a plant.

Ten?

Oh, there's a face.

Then when it gets to be four feet or three feet by two feet, you see an entire picture in front of your eyes.

And that, to me, is the definition of success, is that our lives are made up of a lot of little dots.

And when they tell the right picture, you hit it.

Thanks.

It was great.

Let's take MoMA because it's right here in town, down the street. And it's... phenomenal institution. I mean, it's a place I've been on the board for 35 years. I go there sometimes to just unwind, believe it or not. There were two places I went to in the last 40 years in New York City to unwind. One was MoMA.

Let's take MoMA because it's right here in town, down the street. And it's... phenomenal institution. I mean, it's a place I've been on the board for 35 years. I go there sometimes to just unwind, believe it or not. There were two places I went to in the last 40 years in New York City to unwind. One was MoMA.

When I had an hour between meetings or even a half hour, I'd fly in there and just sit in one of the galleries and take in the just extraordinary stimuli of creativity and say to myself, you know, what were these people thinking? When did they do this? What influenced them? How did they come up with this idea? Why is it different?

When I had an hour between meetings or even a half hour, I'd fly in there and just sit in one of the galleries and take in the just extraordinary stimuli of creativity and say to myself, you know, what were these people thinking? When did they do this? What influenced them? How did they come up with this idea? Why is it different?

Better than anything else in its genre, which when you look at MoMA, they have the best of the best, which is as an art collector, almost impossible to do. The second place I went was I had a very close friend in New York who I saw talk to three, four times a week named Roy Lichtenstein. And I used to go to his studio, which is where he lived, in Washington in the village.

Better than anything else in its genre, which when you look at MoMA, they have the best of the best, which is as an art collector, almost impossible to do. The second place I went was I had a very close friend in New York who I saw talk to three, four times a week named Roy Lichtenstein. And I used to go to his studio, which is where he lived, in Washington in the village.

And I'd walk in, his wife Dorothy would take my cell phone, and Roy would let me sit there and watch him paint. And we'd talk. And I wasn't allowed to do business. And it gave me a great sense of grounding, frankly. At MoMA, I was very lucky enough to be asked by David Rockefeller at a very young age to get involved in the museum.

And I'd walk in, his wife Dorothy would take my cell phone, and Roy would let me sit there and watch him paint. And we'd talk. And I wasn't allowed to do business. And it gave me a great sense of grounding, frankly. At MoMA, I was very lucky enough to be asked by David Rockefeller at a very young age to get involved in the museum.

If you ask me why David did this, my guess is he wanted someone from the West Coast. He wanted someone that was involved in the media business, and he wanted to bring the mean age of the trustees down a bit and have someone with a culturally contemporary background