I've been to Sundance eight times as a publicist and thought I was very prepared. I mean, who could've been more prepared for me? A publicist who's been there eight times. Getting there as a filmmaker was a completely surreal, different, unexpected experience.
The whole trial seemed surreal.
New York forces you to be in endless surreal situations.
Pierrot le Fou is something I keep coming back to. Its so surreal but still really engaging - it proves narratives within narratives are a landscape that can be pursued well.
There was a brief moment of weightlesssness: a balancing point between air and earth, dirt and heaven. How strange, I thought, how like the moment between sleeping and falling when everything is beautifully surreal and nothing is corporeal. How like floating towards completion. But as often happens in that time between existing in the world and fading into dreams, this moment over the edge ended with the ruthless jerk back to awareness.
It's a surreal experience. During the first show, I was like, "Wow, I'm onstage with Ms. Tyson!" Everybody has been amazing, and the energy is really beautiful. I'm replacing my friend Condola, so everyone making sure that I'm OK has turned what could've been a very scary, nerve-racking and lonely experience into a supportive environment.
I did shoot a movie called 'Mother's Day', and I really can't wait for everybody to see that. I had so much fun shooting that with Jennifer Aniston, which was kind of surreal in itself.
A few years ago I appeared on GLEE and, Jane Lynch and I did a remake of the song that was very popular - someone told me it was in the Top 100 when it was released. First, walking on the set of GLEE the day we filmed it was surreal as they had recreated the entire original set from the music video. It was bizarre - but fun.
To be labeled as a strong woman when you feel vulnerable is a strange place to be, because then you're, like, "Oh, I have to be strong now. But I don't feel strong. I feel alienated. I feel isolated. I feel that things are very surreal, and they're not authentic, and this is all just very overwhelming."
There's Cloudy with a Chance of Meatballs 1 and 2, and Ratatouille. It's super surreal. We've been working on this for eight years nonstop. Every week we've had a Sausage Party meeting, and now it won't be on our to-do list anymore. It's like the end of summer camp.
I think the most surreal moment for me having been a kid who was on unemployment, was on food stamps - I'm not kidding you, to utter these words aloud is so surreal to me - but to say, "I had to give up my Super Bowl tickets for my all-expense paid research trip to Argentina's wine country," it was like, who's life is this? It was splendid, and the nice thing was that they renewed my contract for another year.
That was another incredible thing: the opportunity to be in Greenland, a place I had read about in NatGeo a decade before. Suddenly I was staying there and hiking there, and we took a mini iceberg out of the water and chipped it up and used it as ice cubes and made cocktails with it. It's surreal.
I don't think it feels like a burden. We did not really think of it ["Mary and Jane"] that way. I think it is certainly how we branded. The thing it does is enables us to be a little bit surreal.
We did want it ["Mary and Jane"] to feel a little different and have some surreal weird touches, which we try to do every episode. That is what we took advantage of.
Because of Walter, we did it the other way around. We also worked with an awesome sound designer named Will Patterson who just worked for four years on Terrence Malick's films. He did a lot of conceptual work to make the soundscapes in the jungle have this surreal quality, to blend these two films because a lot of the images are about this parallelism between the movies. The sound was very integral to fusing everything.
My life feels so surreal. That's why I've made a shtick of being me.
I'm both kinds of a person; I have a side of me that's very light and very optimistic and finds everything surreal and hilarious, and then I have a side of me that's - I don't know what the right word is - tormented or just feels very overwhelmed.
I just love the ideal of the surreal quality of putting it on a shoe.
My spirit had been broken a bit over the years by my having to work on films I didn't love. Hollywood's a surreal place, and it really is an assault on your spirit.
It's very cool for me to be able to get in an airplane and fly for fourteen hours and show up in a place I never thought I'd ever be and have kids in the same room singing these songs I'd written so far away. To me, that's so surreal.
At least for me personally, drugs aren't an essential part of having a surreal experience, or what you might call a higher experience.
I definitely write about a lot of dreamy, surreal stuff. I do end up going to a surreal world with my music, but I also like the idea of there being really real stuff as well.
Every so often I'll go back down to earth and I'll make reference to a phone or a house or something, something that's a bit more real. But I suppose what that does, is it puts you in a surreal place but also my music doesn't get too carried away in that sense, which I quite like.
I just like a great song. I just wanted to be this true reflection of what is in my heart and it ended up becoming my life which was kind of surreal, but I do enjoy writing for other people.
A lot of times, identifying with a character in a book or a movie makes me feel really vulnerable. Especially in books, it's like being able to see an amplified version of yourself, and it's very surreal.
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