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Hillary Clinton did try to reach out to the Sanders voters with policy concessions, but Sanders voters, especially his most activist core, are process people. They're not policy wonks. They're people who want big money out of politics. They're people who want fairness from the DNC chair. They're people who want every vote to count. They're the people who don't like Wall Street money. Right? They're primarily about the process of politics and whether or not it's fair and whether or not big-money elites are rigging things in your favor.
Is beauty a reminder of something we once knew, with poetry one of its vehicles? Does it give us a brief vision of that 'rarely glimpsed bright face behind/ the apparency of things'? Here, I suppose, we ought to try the impossible task of defining poetry. No one definition will do. But I must admit to a liking for the words of Thomas Fuller, who said: 'Poetry is a dangerous honey. I advise thee only to taste it with the Tip of thy finger and not to live upon it. If thou do'st, it will disorder thy Head and give thee dangerous Vertigos.
I have nothing but great respect for great scholars. But I was in grad school in the '80s and '90s, at the height of the theory craziness. It had a big part in why I ended up becoming a writer rather than a scholar, because I thought, "I just can't play these games." I was interested in literature because I loved literature, and so much of the theoretical positioning, at that moment 25 years ago, was antagonistic to literature. You know, trying to show that Jane Austen is a terrible person because she wasn't thinking about colonialism.
Tell me what's wrong with this idea: If you're selling to somebody, find someone like that person to sell to them. If you're trying to reach swing voters, if you're trying to reach people on the fence, if you're trying to reach Republicans who are unsure about this candidate... get people who switched! Get people who are registered Republicans. Get people who were George Bush voters who can't bring themselves to do it again. Talk to them, get them to explain what their reasons are, and show them to people. What's wrong with this idea?!
There were periods in Islamic history when things like apostasy and blasphemy were made punishable. So you know it kind of depends - there's no argument, quite apart from the question of the divine or otherwise nature of the Qur'an, that huge swathes of Islamic law are man-made. Clerics here - in maintaining their power, will often try to elide that and say "Well no, actually this isn't man-made at all. Stoning is part of the divine revelation." It isn't in the Qur'an but the way this has been done over the years is to take the Hadith.
The attitude of the West and of Russia towards a crisis like Ukraine is diametrically different. The West is trying to establish the legality of any established border. For Russia, Ukraine is part of the Russian patrimony. A Russian state was created around Kiev about 1,200 years ago. Ukraine itself has been part of Russia for 500 years, and I would say most Russians consider it part of Russian patrimony. The ideal solution would be to have a Ukraine like Finland or Austria that can be a bridge between these two rather than an outpost.
If you look into the way that materials are used in an ecological system you'll notice that you'll find that there is no waste. The waste of one organism becomes food for another and everything's recycled in an ecological system whereas in our human built environment there's a throughput system. We use something then we throw it away... We have to imitate nature and try to re-use everything we make as human beings or recycle them - when we cannot re-use or recycle them we should try to reintegrate them back into the natural environment.
In terms of how I work with actors, having worked so heavily on the script I have a very clear idea of the characters; they are reasonably well illustrated in the script. If you cast it right, to a great degree you can hand it over to the actor and I just make suggestions. I'm not the kind of director who needs or wants to get into too much finessing. Ideally, when you hit the set, you have this conversation, like, 'eh, what did you think?' 'I don't know, what did you think?' 'Why don't we just try it again, make a few physical changes.'
Russians want to drill in the Arctic. Rex Tillerson has negotiated a multibillion-dollar deal with Exxon to do that drilling. They can't get the equipment, the supplies and all that they need until the sanctions are lifted. They want Donald Trump; not only will he support lifting those sanctions, he also will turn a blind eye to the expansion that Putin is trying to do. He does not care about them having invade Crimea and does not care whether or not this egotistical maniac, Vladimir Putin, is attempting to reunite the whole Soviet Union.
At some point, you have to disconnect, if the obsession with playing a real person gets in the way of the movie at large. At the same time, we're all interested, as actors in trying to get as close to the real thing as we can, and whatever you can do in order to create that transformation feels fun and, for me, the furthest I can get away from myself is fun. It's all part of the costume, the accent, and all that stuff. It's about trying to get close without it being a detriment to the point of view of the story that you're trying to tell.
If you do not want what I want, please try not to tell me that my want is wrong. Or if my beliefs are different from yours, at least pause before you set out to correct them. Or if my emotion seems less or more intense than yours, given the same circumstances, try not to ask me to feel other than I do. Or if I act, or fail to act, in the manner of your design for action, please let me be. I do not, for the moment at least, ask you to understand me. That will come only when you are willing to give up trying to change me into a copy of you.
For if as scientists we seek simplicity, then obviously we try the simplest surviving theory first, and retreat from it only when it proves false. Not this course, but any other, requires explanation. If you want to go somewhere quickly, and several alternate routes are equally likely to be open, no one asks why you take the shortest. The simplest theory is to be chosen not because it is the most likely to be true but because it is scientifically the most rewarding among equally likely alternatives. We aim at simplicity and hope for truth.
Ten years ago when I started out I was kind of told I was insane for trying to pursue multiple fields at once because in five years everyone who just did one would have five times the resume I would if I was lucky, but I took that gamble because I just my gut told me it was the right thing to do and you know as an actor there is so much downtime you want to fill it with something else and as a writer you know sometimes you're doing a passion project, sometimes it's a paid gig, sometimes there is nothing, so you can do a journalistic piece.
While archetypes may emanate through us for short periods of time, in what we call numinous experience, no woman can emanate an archetype continuously. Only the archetype itself can withstand such projections such as ever-able, all giving, eternally energetic. We may try to emulate these, but they are ideals, not achievable by humans, and not meant to be. Yet the trap requires that women exhaust themselves trying to achieve these unrealistic levels. To avoid the trap, one has to learn to say 'Halt' and 'Stop the music,' and of course mean it.
Being a slow reader would normally be a deficiency; I found a way to make it an asset. I began to sound words and see all those qualities - in a way it made words more precious to me. Since so much of what happens in the world between human beings has to do with the inconsideration of language, with the imprecision of language, with language leaving our mouths unmediated, one thing which was sensuous and visceral led to, in the use of language, a moral gesture. It was about trying to use language to both exemplify and articulate what good is.
I'm always trying to find that role that will allow me to stretch and play a lot of different sides, but it's hard. To be frank, as an actor, I read maybe a hundred scripts a year and I really strongly respond to probably two, but every other actor in town responds to those two scripts, as well. It's hard to land those roles that are really good because they're coveted. That's why I try to create for myself, and that's why I've been doing things outside of acting, like writing and producing. I try to not have to depend on other people so much.
I'm trying to see if I can speak about our society today, but I cannot speak about the theme, because it's a bit difficult. I'm just starting to work on that. Because we live in a kind of world which has drastically changed in the last years. We speak about globalization, and how it's become the reason for everything. It has a kind of deep meaning. To be everywhere and to be nowhere at the same time. You think to globalize, you think, the Earth, it's your country. No, it's not your country. It's not easy to catch it in a cinema. It's too huge.
The relationship we have with God is not the same over a life; sometimes, as with human relationships, it goes through bad patches and sometimes it becomes very intense. It is a terrifying thing to have a relationship with one's creator, to spend one's life so that one is trying to converge with one's creator seems an extraordinarily difficult and sublime thing. But at the same time it's extremely simple. One of the things which perpetually amazes me is that at any moment or any day, anyone who is alive can talk with the creator of the cosmos.
Are you trying to weasel out of showing us any of this stuff?" said Zacharias Smith. "Here's an idea," said Ron loudly, "why don't you shut your mouth?" "Well, we've all turned up to learn from him, and now he's telling us he can't really do any of it," he said. "That's not what he said," said Fred Weasley. "Would you like us to clean out your ears for you?" inquired George, pulling a long and lethal-looking metal instrument from inside one of the Zonko's bags. "Or any part of your body, really, we're not fussy where we stick this," said Fred.
You'll also hear about the widening gap in the educated and the uneducated. The liberals will all say, "We must do something about it" and some in our population swoon, "Oh, yes, it's so unfair, and so unfortunate, and we've gotta do something about the inequality." So the Democrats then have their reason to do something about it, and the way they go about it is not trying to make people equal at all. The way they go about it is not even rooted in changing inequality, at the end of the day. The way they go about it is destructive for everybody.
One of the great things about being a grandparent is you get to redo what you didn't or couldn't do as a parent. Oftentimes we forget that even while the parent is parenting, they're still a growing person. They're still trying to fix themselves. They're still out there not doing everything a hundred percent correctly. I had the best parents I could ever have, but the kinds of things that they were capable of doing, the things that they said and did, were very destructive to my sister, brother, and me. But they're so much more than those things.
Do you want to improve the world? I don't think it can be done. The world is sacred. It can't be improved. If you tamper with it, you'll ruin it. If you treat it like an object, you'll lose it. There is a time for being ahead, a time for being behind; a time for being in motion, a time for being at rest; a time for being vigorous, a time for being exhausted; a time for being safe, a time for being in danger. The Master sees things as they are, without trying to control them. She lets them go their own way, and resides at the center of the circle.
There's great poetry in the Old Testament and the New Testament. And I'm not interested in trying to prove whether this paragraph is as it was or as it should have been or should not be. My pursuit is to find the truth for me in those stories and make them apropos. The important thing is that people wrote them. These were inspirational stories, and you got to see them that way. If you don't, you'll get in trouble. So I'm not going to spend a lot of time trying to find out whether or not Mary was a virgin. What do I care about Mary being a virgin?
Every ecosystem, even a small one, is sustainable because it has certain ensembles and conditions and influences that are unique to it. And the biological ensembles are almost certainly, even the most modest ones, in the thousands of species. We don't know what's involved in the models - not even the beginnings. And yet we're trying to make a sustainable world, which has to include the natural world. The human species is triumphant, but it's got to get a grip. It's got to come to understand what's happened, why we're this way and what we're doing.
There is one thing that very reliably try to trumps the food supply and that is food demand. At the end of the day, the business of business is business and they are just trying to keep the customers satisfied, it depends what we want. The problem in our current mess is we want all the wrong stuff. Why do we want the wrong stuff? Because taste buds are very malleable little fellows. They learn to like what they know. We're bathing our taste buds in too much sugar, too much salt, too much processed food all day long. That's what they know and crave.
I mean the number one reframe with different people is, there is no one right answer to your life. There are lots of great yous, there's no one single best you and by the way, you never actually know about the ones you didn't get a chance to try. We're all getting partial credit on easy questions, not right, wrong on true or false, on all the big issues of life. That's the same, once you accept that, that's the nature of being a human being, then how's it going to day, it's going reasonably well, which is fabulous because that's as good as it gets.
If the idea is you're working at a job solely to pay the bills because you have ambitions to do something else, if you're not actively trying to do that other thing, you've gotta make sure you're doing that. Sometimes you've gotta take away your own safety net. But if you feel miserable in a day job, in any job, get out of that. Look for something else. Stay in that job until you have the other thing set up, and then go to that other thing. But sometimes you've just got to jump out with a parachute and trust that you're going to land someplace safe.
I would like to say is that to be truly American and represent American ideals you need to consider yourself a citizen of the world. American policy has gone contrary to that ideal. The Bush Administration is bent on making the world submit to "Americanism" instead of becoming a member of the world community. This orchestration comes from the very top of the Administration and has pushed America into a corner. So, rather than trying to humbly mix with the rest of the world, we are forcing ourselves upon it. We seem to create conflicts with everyone.
This is what it is to be human: to see the essential existential futility of all action, all striving -- and to act, to strive. This is what it is to be human: to reach forever beyond your grasp. This is what it is to be human: to live forever or die trying. This is what it is to be human: to perpetually ask the unanswerable questions, in the hope that the asking of them will somehow hasten the day when they will be answered. This is what it is to be human: to strive in the face of the certainty of failure. This is what it is to be human: to persist.
One of the good thing about theater in the states, is that the playwright we do have a say, especially in the beginning, when the play is being discussed around the table. We talk about the play, and the actors listen, and there have been cases, you disagree on something... I mean, actors don't usually tell you what they're going to do, they do it. Of course, you try to speak with the director and say, "Is there any way you can bring this actor to do something different?" You try as much as you can, but then, you also have to be open to interpretation.
As a writer, I'm too busy and worried to experience the delight while composing my own work, although, of course, I hope a reader will find something of it when the work is complete. But I do try to figure out where in their experiences certain characters of mine, who are not necessarily readers, and certainly not writers or artists, find an equivalent sensation: of delight, of astonishment, of whatever it is that briefly - and brevity seems essential - reassures us, connects us, sends a shiver of inarticulate recognition down our spines: Oh, yes: life.
Now for me, you're the irreplaceable one: I've never see you up so close before, and I do not understand you at all. You say sometimes I act like I don't see you? I don't even know where to look! Living with you around is like is like living with a permanent dazzle. The fact that you even like me, or look at me, or brush by me, or hug me, or hold me, is so surprising that after it's over I have to go back through it a dozen times in my head to savor it and try and figure out what it was like because I was too busy being astounded while it was happening.
Electronic music was just discovery about sound, all our sound options. The core percussions and melodies, they forget about it, they didn't think about those those for a good four, five years, because they were just discovering the new tools and what they could do with them, you know? The big folk revival, I think is a backlash against that. And now, I think they'll probably try to find somewhere in the middle. It's interesting. It's like push-and-pull. It's always like that, you know? Music history is always like that, this repeating evolution of music.
I'm trying to make a primitive painting. I'm trying to summon the archaic. I want to enter into a primitive situation. This is my protest against the sensory deprivation that we experience, which is due to this tendency towards globalization, towards homogenization, towards the generic - a technological standard rather than an aesthetic standard. I'm mining history, trying to regenerate a pictorial situation that is more humanistic. It's not about commodification, it's not about fitting into some sort of corporate structure. It's opposed to that direction.
There are people in poverty who, if they have the gumption, say, "I'm leaving here. I'm gonna take three jobs and make it." There are definitely people who do that, and it shapes the rest of their life. And that's almost as unfortunate as someone who says, "Why bother? I'm not even gonna try." There are people consumed by that, and I've been affected by it. It's been a detriment for sure. It was ridiculous, and I don't want to see anyone go through that again. It makes me compassionate, and when I see it, it makes my shoulders tense up, and you remember it.
The sad part is that all we're trying to do is not feel that underlying uneasiness. The sadder part is that we proceed in such a way that the uneasiness only gets worse. The message here is that the only way to ease our pain is to experience it fully. Learn to stay. Learn to stay with uneasiness, learn to stay with the tightening, learn to stay with the itch and urge of shenpa, so that the habitual chain reaction doesn't continue to rule our lives, and the patterns that we consider unhelpful don't keep getting stronger as the days and months and years go by.
What shocked me was three different anti-prostitution feminists asking me to justify that I had been a sex worker, to prove it. That either I hadn't done enough sex work by their standards, or I hadn't done the right kind in order to have the right to speak about it. I couldn't understand them. I'm not speaking for you. I'm not speaking "for" anyone. I'm trying to put together this picture of the different forces that are producing a result in the lives of sex workers. You can't contest the fact that tons of people are going to jail and experiencing violence.
Emma Watson was saying the other day that when Helena Bonham Carter was becoming Hermione, or trying to become her for the polyjuice-potion sequence, she was trying to take on Emma's mannerisms, and she was asking Emma questions like, "What's Hermione's favorite color?" Because she wanted to absorb all this information and to know, in here touches temple what she was like. And as I've tried to develop as an actor, I see that these things, however much they seem insignificant... By knowing what's Neville's Longbottom favorite Beatles song, you can know so much!
I don't really enjoy working in TV, to be completely honest, even though it's incredibly lucrative, I'm just terrified of not being satiated in a myriad of different ways. It's amazing that I get to create every day, as an actor, or a director, or a writer, and I get to do it in a variety of different genres and worlds and characterizations. I think that's the great privilege of what we do, we get to make believe. I get to go to so many different places, try on different occupations, take on different points of view. That's what's always been sort of alluring.
When someone says "that resonates with me" what they are saying is "I agree with you" or "I align with you." Once your ideas resonate with an audience, they will change. But, the only way to have true resonance is to understand the ones with whom you are trying to resonate. You need to spend time thinking about your audience. What unites them, what incites them? Think about your audience and what's on their mind before you begin building your presentation. It will help you identify beliefs and behavior in your audience that you can connect with. Resonate with.
The fact that Trump's refused to divest from his labyrinth of business holdings, the fact that he's continuing to profit from his brand and indeed create all kinds of new opportunities to profit off the presidency is outrageous. The flip side is that he's left out a lot of levers through which to pressure him. You know, the reason you want a president to divest from his business holdings is that foreign governments can try to exert pressure on him by becoming customers of these hotels and inflating the value of how much they're willing to pay for a Trump brand.
Every city is different for playing, actually. That's one of the hardest things: to play abroad. Because sometimes you know your city and your audience and you know what to play and what people will dance to. And later, you go to a place and you think this thing will work and you start playing and it doesn't work, and you have to be able to go to another side just to try to find what people like or whatever, or, like, try to make people dance as they are more used to. I don't know, it's quite strange - people dance in different parts of Europe in a different way.
The idea of having dinner together every day with your family removes the pressure from trying to explain everything. You tell us the good parts about your day, but you also tell us the bad parts about your day. And at the end of that, because you're in a ritual, you remove the pressure of admitting you had a failure that day. And it also takes the wind out of having a great day. I mean, it makes you a little bit more normal all the time. That moment of therapeutic sharing is something that happens in food, that doesn't necessarily happen when you're watching TV.
I don't want to pretend like I'm clairvoyant or anything, but I had a tremendous sense of malaise about our political future. This is right around the millennium, right around 1999, when I wrote it. The Sopranos certainly reflected that; when I saw that on the air, I was like "Oh my God, I'm not alone." But it doesn't seem that the culture really caught up with that. George W. Bush won two elections... I'm not even trying to say this from a political standpoint. I think there is a resonance to the kind of glory of that period, and the foreboding of what happened.
I used to get pissed every day. I would wake up and pick up my phone and look at the alerts, and it's like, "What am I gonna read today?" But then I realized I needed to try and be as grateful as I could possibly be. What we're in need of is a greater leadership that's inclusive and truly hears the people and doesn't have a knee-jerk reaction out of anger. Scenarios like this, while divisive, also clarify what we really want in the future. And we'll have a chance in a few years to cast another vote, and we'll see where the American people are when that time comes.
I don't know if it's possible for anyone to really have that level of a voice anymore because our media is so diluted and parsed out. You know people kind of go for the news and information that they want as opposed to picking up a paper and seeing what catches their eye. It's a very stark difference and there is a few stories that end up going wide and everybody hears about them, but they're usually salacious celebrity stuff that is not about substance or it's the latest disaster and it's kind of covered in a way that is just trying to get eyeballs on the screen.
Movies cost so much that studios really try to impose their personality over yours. A lot of times, you can get swallowed up in that and end up making movies that are indistinguishable from anybody else's. One of the things I've always tried to do is to inject myself as much as possible into the movie, so I feel like it's mine. But that also comes from what you choose to do and what you choose not to do. There are certain projects I could have said yes to, and I know exactly how they would have turned out: exactly the way they turned out when someone else did them.
The original interest in making pictures that don't directly depict came around '97 or '98, when I felt there was such an acceleration of images in the world, and that was before Flickr and so on. So I felt a need to slow down how one consumes photographs. With the abstract pictures, I was engaged in trying to find new images, but in practice, it was a bit like throwing a wrench in the spokes. The omnipresence of photography is at a level that it has never been in the history of the world. I feel really curious to now reengage and see what the camera can do for me.
You'll need to do a better job, Annabelle. No more dates like the first one tonight." "Agreed. And no more making me sit through your Power Matches introductions, either. As you so wisely pointed out, helping Portia Powers isn't in my best interests." "Then why are you still trying to talk me into seeing Melanie again?" "Hunger makes me weird." "You got rid of the last one in fourteen minutes. Well done. I'm rewarding you by letting you sit in on all the introductions from now on." She nearly choked on an ice cube. "What are you talking about?" "Exactly what I said.
It's not hard for me to be honest with my fans because that's what I set out to do from the beginning - I've based my entire career off of just trying to do that for them - but I always kind of forget that my real life friends can hear my music and they can watch my interviews if they want and that's when I get kind of like- "oh..." - I don't necessarily sit down and talk to my friends about all the things that I write my music about, because it's easier for me to write music than to sit and talk to my friends about it sometimes- it's almost like writing in a diary.
