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Yeah, well, we were looking for something sort of anonymous. It suggests what it is, but I like that it's modest. I feel like that's an underrated virtue. It's modest and it's kind of anonymous, which I liked, because it reminds me of my own ideas about why music should be played, which is not to be a star. That was never my intention.
Our fate is something which exists outside ourselves, and which once revealed expresses the meaning of our lives. Apart, however, from soothsayers who claim to have a means of foretelling exactly what will befall us, this kind of fate is only normally revealed after a life has ended. Only then can the meaning of that life be understood.
Internet has contributed to certainly a new kind of communication among us - not all of it good; a lot of it, dangerous. When we talk about human community, we certainly now have a tool in our hands that enables us to reach out as we never have before. It broadens our sense certainly of what community is and even of our own place in it.
I wanted to know how much of conversion was forced - that is, forced in the sense that the Inquisition forced people to choose - forced Jews, let's say, and Muslims to choose conversion to Christianity or death. I wanted to see how much of conversion historically was forced in that way and how much of it was really a kind of persuasion.
When you're a person of color in white America, you know white people. You know why you know white people? Because you can't enjoy any kind of entertainment if you are not able to humanize white people. If you watch a film and are like, "Oh, this has white people in it? Then I'm not interested," then you can't enjoy anything in America!
You're always as a musician trying to shock yourself or create music that's maybe even too weird for your own taste. In my case it's kind of weird because I started out being known more for ambient things and ambiguous music, but what's experimental for me is the more traditional structure. For me, experimenting involves traditionalism.
[ Christianity], in and of itself, sets itself apart inherently, and so, for somebody to say, Well it just seems to me like you can pick between all these religions and still have the same thing. Its kind of like somebody saying, You could pick between 80 bananas and one apple and say you have a banana. You cant call that apple a banana.
To me, the difference between New York and London is that things are boring and staid in London. But even the sh-tty diner and bars here are kind of exciting for me. Downtown is funky, West Village is beautiful with the cobbled streets, but I love going uptown because you then you go, "F-ck, I'm in New York!" You see all the skyscrapers.
For me, making a movie is kind of like vomiting. Not that film is like vomit, but more like this mass of ideas and thoughts that you have and just have to put them out there. It's not even about making perfect sense - it's more about making perfect nonsense. I don't do too much soul-searching or self-analysis. I just enjoy making things.
It's kinda crazy to say, but the way Jay [Duplass] and I stay afloat, because we don't make particularly commercial fare that makes a lot of money, is that we make things cheaply and we make things small. We would kind of be afraid to go make a $100 million movie because you have to do certain things to it to have it make its money back.
What I saw over all that time were so many deals disappearing and producers disappearing, fewer movies getting made, and it just being a bit more difficult. Working with Joel, we were in a bit of a bubble because he was always making things that were working for the studio and that kind of thing. We were always in production on something.
I would like to remind you that both assimilation and integration apply to the working classes in the nineteenth century, at least in Britain and also Germany. Like most outsider groups compared with the establishment, the working classes were treated more or less with the same kind of stigmatization as immigrant groups are treated today.
I have known a handful of producers who actually were equal or superior to the writers with whom they worked. These producers were a new kind of nonwriting writer hatched by the movies - as Australia produced wingless birds. They wrote without pencils or even words. Using a sort of mime-like talent, they could make up things like writers.
To me, my favorite comic book movies were the ones that were never based on comic books, like Unforgiven. That's more the kind of thing that get us inspired. Usually when you say something's a comic book movie, it means you turn on the purple and green lights. Suddenly that means it's more like a comic book, and It's not really like that.
I think making movie is kind of like getting fat people to walk 20 miles. If you just do it 100 yards at a time, and nobody knows how far they are going, they can do it!I would include myself in those fat people! You do this little by little and you don't realize your potential, or you don't realize how really rich, and how far you can go.
Legal documents have mistrust written all over them. It's unfortunate, but the human DNA is so tuned to kind of taking you for granted that we tend to protect ourselves legally. That's why I don't read them as, if I read them, I will go soft. To me, the human relationship is far more important than the professional bond I share with anyone.
I certainly think that - especially with the challenges of making movies now, where you're making them in 20 or 30 days - the more experiences that you can get on those kinds of movies, where you have to use a lot of your problem-solving skills that maybe you wouldn't get on a film that takes three months, that, to me, has just been amazing.
It's a little cheeky; growing up in Santa Fe was kind of a weird experience, because it's such a touristy town. So sometimes it feels a little like you're in a town that's just on display. You walk around downtown and all the shops are galleries or high end boutiques, so it can feel like you don't belong there even though you are from there.
I gladly, I voluntarily gave up the kind of commercial film career I had going as soon as I had enough money to finance my own films. I didn't make that money necessarily from the film business, but I eventually made a lot of money and that's what I do. Of course, I consider myself unbelievably fortunate, and I'm pretty content with my life.
You could kind of be free and expressive but you already knew when you joined the internet, you knew that you should not be a troll. You began to experience the internet through platforms that were themselves controlled by specific companies, technical instruments of those companies, like search and retrieval and ordering and classification.
A Thousand Pardons began at the beginning. I wanted it to be one continuous, almost breathless kind of story. In order to do that, it's really hard not to begin at the beginning. There's such a chain of consequence to everything that happens to main characters - it's very hard to break it apart and still be able to hold the plot in your head.
The most inspiring thing for me about Calvin Klein was how subversive the advertising's message was. That's what drove me in my creative process and also in my creating now. The new advertising campaign is Calvin Klein the way I see it today. It's also bringing back the kind of subversive element that I always saw in Calvin Klein's campaigns.
Funny thing is, we've never really had a stylist. We had this style, and the label that we're signed to loved it. And I actually thought they were gonna hook me up with all kinds of cool clothes. But they were like, "No, no, no! Your leather jacket and your skinny jeans is exactly what you want." Aww, dude. I thought you were gonna hook me up!
Well, one thing that I like to do is treat the audience as if they're already kind of at the table - they're already a part of the conversation. They don't need the 101 explanation. It's as if bringing a stranger to the table to sit down with these people who are already acting as peers or friends and opening up and just sharing their stories.
One listens to a piece of great music, say, and feels deeply moved by it, and wants to put this feeling into words, but it can't be put into words. That's what - the music has already supplied the meaning, and words will just be superfluous after that. But it's that kind of verbal meaning that can't be verbalized that I try to get at in poetry.
Like Woody Allen actually does this a lot in his movies, its kind of called magical realism where he has just kind of an everyday, these kind of everyday experiences and all the sudden something magical or supernatural will come into to and I just, I love that and I think everybody can kind of - everybody wants that at some point in their life.
"Repulsion" for me was a really big movie where I was like, "OK, technically there's nothing scary going on here but I'm kind of terrified." Something so tiny was devolving this whole world. I guess I've always been obsessed with what I call the "epically small" in cinema, and that's how one tiny, little weird thing can just explode everything.
I have the words "Lose Well" on my shoulder. It's kind of a catchphrase that sprung up from my TV show at some point. It's this idea that at a certain point, if you're a loser you've got to own that. It's pretty okay to strike out in life. Just get good at it and hold your head up high. If you're a loser, that's what you are and be cool with it.
Our characterization of collective folly is that sound judgment is not feasible when there is forced or false agreement in groups. We also show how group polarization sets the stage for risky and even dangerous decisions to be made. How we navigate between false agreement and polarization is the kind of mastery that collective wisdom represents.
What is the most fascinating kind of self-deception to me, and a kind that isn't necessarily unhealthy, is what Friedrich Nietzsche called "strategic self-deception." The kind of self-deception that you can engage in with your eyes wide open. You do it because you say, "There's things that I couldn't accomplish without this kind of self-deception."
When you're writing - when I'm writing anyway - I'm writing out of different kinds of preoccupations and obsessions, different forms of drivenness, and so you're really hostage those while writing. I am, anyway. And it's only when you finally take the finished thing out of the furnace that you see what it was that went into the making of the thing.
In our counterterrorism cases and our counterintelligence cases, we can issue all kinds of - of layers of approval in the FBI, a national security letter to find out the subscriber to a particular telephone number and to find out what numbers that telephone number was in contact with. Not the content of those communications, but just the connection.
Very few interviews are a conversation. It's usually a question and I have to answer for two minutes. By the end of the day, I kind of feel gross. It's like you go to dinner with a friend and then you get home and you're like: "Ugh, I dominated that conversation too much. I wish I let them talk more." That's how it feels for me every day I do press.
At one campus where I was lecturing, I asked a friend, "How many of my colleagues know I'm gay?" He answered, "All of them." I wasn't surprised. But, just the same, it was kind of spooky, because not one of them had ever given me the faintest sign that he or she knew. If I had spoken about it myself, most of them would have felt it was in bad taste.
Actors push pause on their lives, fly to foreign countries, invest so much and work so hard and get so intimate with a group of people from a crew and cast, and then they say 'that's a wrap' and you push play on your life and there's a middle part of the sandwich, or a tunnel or bridge that you have to kind of walk back over before you can hit play.
At a certain point, I started playing improvised music. After a couple of years of this, I did a little bit of analysis and found most improvised music the kind I was listening to at least, which was mainly European to be as, if not more, formulaic than any other kind of music. For example, improvised pieces would often begin and end in the same way.
I don't think music is my job - I don't think about it that way, because I don't really get paid. There's not paycheck at the end; it's more of a "whatever is left over" kind of situation. Also, it keeps me from thinking about my creativity as a business, which it is not. It should remain pure; that's one of the reasons I made music in the first place.
Something can be symbolic without being a mere stand-in or vessel, which just brings us away from the true mystery and dread, into some boring version of what we already know. So what you say is true, in that the bear is a kind of parallel to the speaker, or imagined as such, but also very different. So if it's a symbol it is - ahem - a polysemous one.
In a lot of ways, L.A. has always been kind of colonized or marginalized by New York. It still goes on to this day, but I would add that it really feeds New York because it provides artists for that system. This is really a laboratory where they grow the seeds and they go there and blossom because there's still not a lot of support in L.A. for artists.
I actually cut my sentences a lot. I'm very aware of the actor, giving them too many words - just a mouthful of words - it's difficult sometimes for an actor. So I'm kind of aware of breaking sometimes the line, the sentence with a comma where maybe there wouldn't be a comma there. Just to give a breathing space for the actor, just to be aware of that.
I think there's something really freeing about improv, that it's a collective, creative, in-the-moment piece. That's really exciting and really frustrating, because it's there and gone. There's an amazing interaction with the audience that happens because they are very much another scene partner. How they respond determines the kinds of stories we tell.
I'm definitely a big believer in the notion that a heightened style can get you closer to an authentic human experience than so-called realism on film. There are films I love that have kind of a muted or realistic style, but for me on any given day I have more moments during the course of a day that feel like a Fellini movie than I do a Cassavettes movie.
Gorecki, you know, there's a kind of personal thing there for me. I had, you know, kind of become obsessed with that sort of Soviet Bloc period. And actually, a lot of composers in the Soviet Bloc - Gorecki's not the only one - are writing for the harpsichord as a sort of reaction against enforced Soviet realism, expressionism, sort of enforced modernism.
People always say, "What do you want to do next, what kind of movie do you want to do next?" And I say, "I wanna do whatever script that is the best one that comes my way." I certainly would never say, "Oh, I'm gonna do a Western next," and sit around waitin' for a Western to come along when there's some other genre's brilliant script sitting right there.
There's a social and human necessity for some kind of continuity, but it's not axiomatic and not something you're born into; it's something you have to work at. And one of the ways to work at it - perhaps the best - is storytelling: telling stories about yourself to others, telling stories about yourself to yourself, telling stories about others to others.
I would love to see more acknowledgement of how challenging it is to feel positive about fatness when you can't find clothing. When there literally is not something made for your body. Nobody ever talks about that; all those fat girl clothes swaps and stuff are for a very specific kind of fat girl. If I was Lane Bryant fat, I would be joyful about fatness.
It doesn't seem weird to me, at all. I'm in Baton Rouge getting ready to direct a movie for Sony, and I'm in the movie and I'm directing it. I know it's kind of this thing where some people find it difficult. I just finished a movie with Mario Van Peebles and he acted and directed as well too. I think we all feel similar that it just kind of seems natural.
But it was for your own good.” – Nick “So’s the spanking I’m about to give you.” – Cherise “I’m too big to spank.” – Nick “Fine, you’re grounded until your grandkids are old.” – Cherise “Kind of hard to do. How am I supposed to have grandkids if I’m grounded?” – Nick “Precisely my point, you demon spawn. You’re never going to get off restriction.” – Cherise
I once asked Myung Mi Kim where gender is located in her work, and she said simply, "it's everywhere," resisting the notion that gender needs to be overly inscribed into the text with some kind of message. Hers is the kind of work that has most influenced how I make poetry - the idea that we don't need to enclose or nail down gender or race, for that matter.
In my work I try to get things right, to do it well, and if there are specific skills involved - like in a case conducting or playing the piano, or in this film I have coming up where I play a character who is German - I'm very meticulous about learning accents and dialects and those kinds of things. That's probably the closest I come to being a perfectionist.