[Stanley] Kubrick was a fascinating, larger than life guy who had been a friend for many years prior to our working together on that film. I found the best part of working with him to be the long conversations we had between set-ups.
Those of us who think about what we eat, how it's grown, those of us who care about the environmental impact of food - we've been educated by fabulous books, like Fast Food Nation and documentaries like Food Inc. But despite these and other great projects that shine a critical light on the topic, every year the food industry spends literally tens of millions of dollars to shape the public conversation about our food system.
I just realized that we're facing here is an empathy gap. And this was just another way to generate conversation about something that nobody wanted to look at.
If the conversation people think is coming is the 'death panel' conversation, that's a total failure.
My dad and I get into it all the time. He loves to discuss politics much more than I do and we have pretty heated conversations.
Once you open that door to a values conversation, it's going to undercut a right-wing economic agenda, which values wealth over work and favors the rich over the poor, or resorts to war as the first resort and not the last.
I like the idea of a book being a democratic space which readers enter, carrying their own thoughts, and participate in a conversation, or experience of grace.
You can say, 'Can I use your bathroom?' and nobody cares. But if you ask, 'Can I use the plop-plop machine?' it always breaks the conversation.
Then you get these articles about how unhealthy life is in the city. You know; mobile phone tumours - far more likely in the city. Well you know what, so is everything else! Including sex, coffee and conversation.
For me, stand-up comedy is a conversation between me and the audience. I have to keep them listening. When I'm making jokes about cake for twenty minutes, I have to make sure my audience is interested and following where I'm going.
Every now and then I'll read a book, I'll be so proud of myself, I'll try and squeeze it into conversation. People will be like, "Hey Jim, how ya do-" "I read a book! Two hundred and fifty pages!" "That's great, what was it about?" "No idea! Took me three years!"
God doesn't seem to talk to people like he used to. Who's he talking to now? I don't know. Then I'm walking down the street in Manhattan one day, and I realize maybe it's those guys you see walking down the street talking to themselves. You know, those guys that are like, 'I can't! No, I can't!' Maybe the other side of that conversation is God going, 'You're the new leader.' 'No I can't!' They're not crazy - they're reluctant prophets.
I'm an American so its kind of hard for me to talk about 9/11. So whenever someone brings it up in a conversation, I say "I didn't like 9/11."
If the lift is broken, I'll just sit and wait for them to sort it out. I don't believe in friendly conversation or chit-chat.
M&A negotiations feel really fun. This is one of the biggest killers of companies, is they entertain acquisition conversations.
Idea that all the beats are wildly liberal and progressive is ridiculous. You have people thinking for themselves and having certain affinities because of their upbringing and who their family are, their own people who were close to them who fought in these wars and so on. It's complicated. But they had that ability to continue the conversation.
My last bedside conversation in the hospital just a few weeks before Allen Ginsberg died was 'please take care of so and so. And the legacy of the Kerouac school.
Once you're imagining being the main character, and you're having the conversations and actually being there, the magic in fiction writing takes over.
I often notice how students can gain the capacity to use certain critical methodologies through engaging with very different texts - how a graphic novel about gentrification and an anthology about Hurricane Katrina and a journalistic account of war profiteering might all lead to very similar classroom conversations and critical engagement. I'm particularly interested in this when teaching law students who often resist reading interdisciplinary materials or materials they interpret as too theoretical.
If art doesn't require an audience, can an intimate conversation be a work of art? Can a thought be a work of art? Maybe. I don't know. These questions are completely hypothetical for me, because I love interacting with audiences. I want my poems to be heard.
How much further can your head get up your ass that you're actually judging someone as a person based on their sexuality before you even have a conversation with them?
Like comedy, horror has an ability to provoke thought and further the conversation on real social issues in a very powerful way.
Film gives me live actors, editing, music, sound, a huge and powerful toolbox to play with. If there is a problem for me, it is that film gives me too much. There is less room for the audience to add their side of the conversation.
Everything is inspiring! It could be fine art or a conversation I have with somebody!
America is the one place in the world where I just innately understood [that] South Africa and the United States of America have a very similar history. It's different timelines, but the directions we've taken and the consequences - dealing with the aftermath of what we consider to be democracy, and realizing that freedom is just the beginning of the conversation, that's something I've learned.
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