I just can't believe it's always somebody else's fault. Sometimes you just have to take a look in the mirror and reflect on what went wrong.
I think Hollywood sees so many parts of America through a very narrow prism. The South is no exception. And those stereotypes, while sometimes true, are exaggerated for me to the point of boredom.
We can use the romantic relationship as a microcosmic example. Until you really understand the other person and where they're coming from and you understand yourself and how you contribute to things, you can never make that relationship better. And I think sometimes people don't understand how much these things are related.
I wonder if these editors, why they're not writers sometimes, because they know so much about writing.
I think, when I'm writing, I have a more clinical view than I do when I'm reading. I like pretending to be God and basically determining the fate of my characters. But as a reader, I'm a sucker. I'm very sentimental. I get upset when people that I like die. And yet I have killed off characters in my books quite heartlessly, and sometimes found that readers were very upset by it.
The one thing you know when you're shooting a script - and I've been on a lot of sets - is space is in a script, and the distance between the page and the stage is so enormous that it is unbelievable how even the brightest people can misread your intent or not see it altogether. Scripts have air in them. Scripts are supposed to leave things up to interpretation, but people can misread things enormously, so sometimes it's just a matter of wanting to put on the screen what you had in mind.
The pieces of "Please Give" just did fit together. I'm very comfortable with the ensemble. I thought this was just going to be a movie about this girl who gives mammograms. She's the lead. And then before I know it, she's got a sister, neighbors, and sometimes parents and friends and then it's an ensemble. And that's what I'm comfortable with, I guess.
The desire for story is very, very deep in human beings. We are the only creature in the world that does this; we are the only creature that tells stories, and sometimes those are true stories and sometimes those are made up stories. Then there are the larger stories, the grand narratives that we live in, which are things like nation and family and clan and so on. Those stories are considered to be treated reverentially. They need to be part of the way in which we conduct the discourse of our lives and to prevent people from doing something very damaging to human nature.
Sometimes I criticize movies. It's not fun to watch a movie with me, because I'll go, "That was a really bad shot." My mom's like, "Shut up, Chloe, watch the film!"
In our time, we have become too interested in the artist and his or her character and experience as a way of understanding art. In my view, you should be able to read a book or see a film without knowing a single thing about conditions or circumstances or character of the artist, and experience the work to the full without such information. Sometimes I feel - speaking for myself - that people know much too much about me, and I wish people knew less and could just read these books and respond to them purely as words on a page.
When I was a young lawyer, there were other women and men in the firm who took me under their wing. Sometimes mentors don't find you - sometimes you seek them out. You shouldn't hesitate to plop herself in someone's office and ask them to be that support.... Oftentimes, they're flattered and glad to lend a hand. So I would encourage any reader to seek out a mentor, then follow through and be very focused and persistent.
Sometimes they're all collectively thinking, "Wow, we're kinda a shitty audience," and then if you point it out, it's kinda like, "Hey, I know what's going on. We know what's going on up here. Or what's not going on. And I'm letting you know that I know. And now we can fix this."
When I teach criticism, the first thing I say, and this sometimes pisses off younger - I mean, students, is that, opinions are the least part of criticism. We've all had the experience of going with a friend to a movie or a concert and you leave the theater and one of you loved it and one of you hated it, and that doesn't mean that one of you is an idiot. That's the way things work.
I really admire songwriters or any kind of writer, painter or artist that says, "I'm going to get up at 8 o'clock in the morning and spend this time to this time creating." I do that sometimes, but the songs I like the best come as gifts from somewhere. It's almost like you didn't do anything, like you can't take credit for it because you sat down and the melody and words came out.
I try not to read reviews, but if it's a really important review or somebody sends it to me, I'll read it. It's really interesting when you read a review of yourself, you see this weird reflected image - it's like looking a funhouse mirror. Like, "It's sort of me, but is my neck really that elongated?" Sometimes it's vaguely embarrassing what people think of you. When I was in Italy doing this press-interview day, this guy asked me, "Are you a tortured soul?" It's embarrassing to have somebody think you're a tortured soul, or that you think of yourself as a tortured soul.
Sadness is not always the worst feeling. Sometimes it's a really pleasurable thing to be overwhelmed with sadness.
I think sometimes people believe what they want to believe. I personally thought I was going to marry Elton John. I was so out of my mind that I really thought that someday I'd meet him and we'd fall in love and live happily ever after.
When I was working with Talking Heads what would happen typically is that they would go out and start playing a track, and I would always run the tape. I always record everything, even a run through where you're trying to get in tune. That's a principle because sometimes when the situation isn't clear interesting things happen, and they are worth listening to again.
I don't want to face the reality of what people want from a female pop star. Everybody always laughs because I feel so much more comfortable with, like, a giant paper bag on my whole body and paint on my face. Sometimes I try really hard to take it all off. But inevitably what's underneath is still not a straight edge. And I don't think it ever will be.
Sometimes you get involved in a film because you just love making movies and you want to keep working. Sometimes you're lucky enough to find something that you really care about. Therefore, now I'm emphasizing developing my own projects and writing my own screenplays, so that I can do exactly what I like to do.
I've just always liked watching people dance. I can't explain it. It used to just make me laugh. Sometimes you can tell a lot about a person by the way they shake their ass.
A role model for me is somebody who is really empathetic and has a calm strength to them. Sometimes you meet random people and they're really inspiring because they seem wise; they've gone through things.
Sometimes the parallels that are brought in can make the play seem less relevant; you can deny a play's application to the universal by making it too specific. Sometimes having a modern context does make things easier to grasp; sometimes, you go, "Why have they got swords?" "Why didn't Juliet just text Romeo? Why did she bother posting a letter? Why was the Milan post service so bad?" It throws up irrelevant questions that don't help.
I'm left. Okay. And sometimes radically, and sometimes I even shock myself with the degree of radicalness in my own - that I'm allowing to come out in my old age.
It's not like activist work is a nice add-on to what's really important, the spiritual work. The two are inseparable and it goes both ways. Many people are hardcore activists for decades, and they encounter burnout, futility, or a feeling of imbalance. Sometimes they need to go so far as to drop their activism and go on a spiritual journey. They're realizing that all the stuff they're trying to change in the world isn't just out there in the world. It's in them, too. And as long as they're blind to what's in them, they're going to continually re-create it in all that they do.
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