I love being part of poetry conversations. I love talking about what I've read.
I think women are deeply interested in a conversation around fertility. It's not a conversation just for one age group of women, a conversation if you're post 30 or post 35. This [is] conversation about reproduction, about taking your own power with you and deciding for yourself.
I'm always fascinated when people say, "We found rude conversations people had via e-mail." Why are you e-mailing this stuff? It has your signature on it! It has a time stamp!
She [Sarah Palin] by no - has any basic understanding of what post -traumatic stress disorder is, so I think it gives the rest of us an opportunity to have a real conversation about some of these problems.
The majority of the people I've taken photographs of, I've had conversations with. "What are your goals and aspirations?" "What are you about?" It's not just about me capturing the image; I want to know what you are about.
The photograph is to a great degree evidence of the conversation I had with the person. It's a part of my visual diary.
Parents typically don't talk to each other about their goals and attitudes to parenting but this type of conversation could be very useful for helping parents become clearer about the things that are important to them.
I had an epiphany where I realised that there are song titles everywhere - in advertising, in conversations with people at the grocery store - and every time I open my mind to that and find titles, I then weave a story around that.
I try to see what that person is thinking or feeling about that particular day. I just get more of a sense of what that person's like and hopefully it's more interesting than a normal conversation.
People think, "Wow, people in America have so much money, they're sending hundreds of pencils to this guy." I don't think those people realize that most people who are buying these pencils are buying them as art objects or conversation pieces.
My experience as a Jewish American has often been as a spectator of one-sided conversations, or more like monologues, about Israel, Jewish History, Jewish identity, etc. Although there are profound divisions amongst Jews on all of these topics there are not many opportunities for deep and thoughtful dialogue about them.
As for not getting things right: I constantly rerun social situations/conversations I experience/have throughout my head, and I'm always writing them down in notebooks or in word documents/the Internet. I feel like these habits and a generally good memory of people/the interactions I have with them (due to studying people having always been my main interest in life) have lead me to being very accurate in things I write in stories/essays.
I don't know enough about hip-hop, though I've heard some great hip-hop. I just did a thing with Qwest Love - we did a performance together in Memphis at the Folk Alliance Festival, and we had a great jam and a conversation.
Anytime you've got something that can take you into the political realm then you've opened up the conversation a lot.
I got a call from a mutual friend of ours, Charles King, who's also the executive producer. [Steven Caple Jr and I] had a conversation about it. I read it. We kind of finished each other's sentences when it came to the nuances and personality flaws that the character had, and some stereotypes and things we were trying to stay away from. We agreed on that as well. He just kind of allowed me to run rampant with the ideas. As we paced ourselves through, we developed Turquoise.
In some ways all of my fiction is like a conversation I'm having with the writers I read when I was first falling in love with books.
Most written work is a conversation between the editor and the writer, that the writer essentially fulfills in public, and the editor provides the stage for that to happen as well as the prompts.
Pretty much everyone on my iPod, I'd like to be friends with. But I'd say that the main two that I'd love to get into a conversation with, are Werner Herzog and Graham Hancock.
People who just wanted to make it work and knew it was going to be a real challenge. We were on the beach the first day and Donald [Sutherland] and I are playing best friends our whole lives. We met each other for 10 seconds the night before and we're sitting on a beach lining up a shot that we shoot a few minutes later, never having had a conversation with each other and then end up going skinny dipping in the Pacific Ocean buck-ass naked, not knowing who the other person is.
After three days of shooting with Donald [ Sutherland], I was the only one he worked with for the first three days of the movie [The Winter Of Our Discontent] because of the crazy schedule. We [shot] a lot of this stuff, some of it incredibly intense and emotional. We had never had a conversation during that whole time. We didn't have time.
I love a small dinner party - let's say six people, max, were everybody's having the same conversation. That's my favorite thing in the world.
Every performance is different. There are so many factors involved... the people I've met that day, the weather, the city I'm in, conversations, sleep, mood, everything. However, there are many nights when the stars align and I feel like both the story teller and the stranger in the crowd, hearing it all for the very first time.
I grew up with a lot of spirituality. It wasn't necessarily organized religion, because my mom was Jewish and my dad was Muslim. I went to Catholic school. There was a lot of conversation about comparative religions.
Things that are present - whether it's a conversation with someone who is really grounded in the moment, a movie that feels authentic, or a moment in nature where you feel nothing but the present. It motivates me to truly ground myself, breathe, and push forward. Crashing waves.
I mean, you always hope to have a part on every level, on every layer. For us it was very much a conversation about power and sexuality and brutality. And really all the issues that are in that world, in that space, come down to one word, which is "masculinity.
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