A Quote by Laura Wade

'Posh' is not really political. I didn't want to aim a brickbat at the system. Or to bash Old Etonians. It was always the class and privilege aspect of that world that I was most drawn to. There is something endlessly fascinating about imagining something you could never be involved in.
In Grade 2, when we had to do a presentation in front of the class, I'd always do things about Ireland or Italy. I could draw maps; I could name all the capitals: I was completely drawn to other lands. I discovered with time that it's a thirst for other people, for otherness, for something fascinating and mysterious.
I've always been quite careful about what I wanted to do. I've just never wanted to revisit old ground or do something that's easy. I want to do something that I would look at and go, "I don't know what to do!" The most exciting thing is when you're a bit scared, so I'm looking to find something that's really terrifying.
I'm not drawn to people that much unless there's a really serious energy happening, but I'll take a lot of pictures of trees, or I'm always staring at the ground. I'll see an oil stain that looks like something out of 'Lord of the Rings' or something, and that's what kind of calls to me... I'm drawn to that aspect of photography.
When you talk about "white privilege", you're talking about something systemic. When you're talking about "black privilege" it's something spiritual because we as black people tap into a divine system that a lot of other cultures and races can't tap into and that system allows us to prosper in spite of everything that's been thrown our way from slavery to segregation to mass incarceration. We have a privilege pre-ordained by God that nothing and no one can stop.
I could never release something on the label I didn't personally love. The label's really an extension of my own musical career, and I'm intensely involved with every aspect personally, so it'd be a betrayal to myself if I released something simply because I thought it would make money.
As architects we are often involved in the concrete-steel-and-glass aspect of it, but cities are social structures, and to be involved in imagining the future of cities and the type of relationships and the types of places that we're making is something that intrigues me very much.
I never... it's a hard thing: when I think about projects, I don't come off something and go, 'I really want to make a sci-fi film next,' or 'I really want to do a political thriller next.' It's really coming across - I'm really fascinated, partly by world building, but also about the character and what the journey is.
I believe that Britain is becoming more class-conscious, and I quake at the very idea of Old Etonians ruling the world again.
We are always imagining something, It is practically impossible to be awake without imagining something. Then why not imagine something at all times that will inspire the powers within us to do greater and greater things?
We need to be clear that there is no such thing as giving up one's privilege to be 'outside' the system. ONE IS ALWAYS IN THE SYSTEM. The only question is whether one is part of the system in a way which challenges or strengthens the status quo. Privilege is not something I take and which I therefore have the option of not taking. It is something that society gives me and unless I change the institutions which give it to me, they will continue to give it, and I will continue to have it, however noble and egalitarian my intentions.
Class is something that I think seriously about and try to organise my politics around. I think there are lots of novels that don't really engage with questions of class at all, and they get less conversation about issues of social privilege than I do. But it's better to try and talk about it and maybe fail.
I didn't want to bash young people. I don't want to bash a kid for dreaming or wanting something or being slightly ambitious - that's not the problem. The actual problem is with the culture surrounding him.
There's nothing else exactly like it in any other art form, the orchestration of so many different elements. It's endlessly fascinating what can be done editorially. You can create meaning where there was none, you can create feeling where there was none, you can create narrative where there was none. Two frames can be the difference between something that works and something that doesn't. It's fascinating.
It is important that an aim never be defined in terms of activity or methods. It must always relate directly to how life is better for everyone. . . . The aim of the system must be clear to everyone in the system. The aim must include plans for the future. The aim is a value judgment.
If I wanted to doubt, then I could doubt endlessly, but at some point a person has to stop questioning and act, and at that point you have to trust something to be true. You have to act as if something is true, and so you choose the thing you have the most reason to believe in, you have to live in the world that you have the most hope in.
A fascinating breed, Old Etonians. Impeccable in their social skills and very portable - you can put them anywhere, and they are absolutely charming.
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