A Quote by Nic Pizzolatto
You know how people say that young people feel immortal? I don't know what they're talking about. I was planning for how I would deal with my death in good conscience well before I even hit puberty.
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Young people want to be famous before they know how to cook, before they know how to treat people, before they know what hospitality means. I stayed in France for seven years and Austria for three, so before I was a chef anywhere I was already cooking for 10 years.
I have thought about the next steps, and you know, they still don't know that I can dance. They don't know it, and it's frustrating me because I feel that it's an edge that I have, and I'm not talking about I took this hip hop class, I'm talking about this is how people actually know me.
I know, and know of, people who said they have taken a hit of crack and never tried it again. I overheard one woman in LA say she took one hit and it mad her feel so good, she was afraid to try it again. I am not a doctor, but I do believe that if one is predisposed to addiction, taking one hit may be all it takes. Certainly that is how it worked out for me.
It's funny. I'm attracted to things that don't have any impact on life. People say I've done a great thing for women. I don't think I have. People say I've given people courage. That makes me feel good, but I don't see how I do that. I think my running is a selfish thing. But it provides the challenge that allows me to feel good about myself. How can I expect to do well in other activities if I don't feel good about myself?
We are always talking about how we can get more environmental and humanitarian education. It is about listening to the voice of young people - how they feel, and what would be most meaningful for them.
I think 'Shade Room,' it's a different me. You know, I think it's more on the lyrical side, talking about my life and how I really feel. You know, all these things outside of football. And people really get to look at how I feel about things or how I look at certain things. It's not just a song, more so me just telling people how I feel.
I always felt it is not good if you feel like you would know how to do something. I've made mistakes of telling people: I know how to do this. And it should feel dangerous. That is the only way to stay alert, to keep the adrenaline running.
The art is about opening, it is not about prejudice, it is not about contempt prior to investigation. It's about endlessly trying to keep from having contempt by admitting that you don't know. Even if you know a lot compared to some other people, usually, I think, the honest experience would be: "God, how little I know! And how much I need to have compassion for myself and for other people."
Educational bureaucracies dull a child's questing sensitivity. The young must be dampened down. Never let them know how good they can be. That brings change. Spend lots of committee time talking about how to deal with exceptional students. Don't spend any time dealing with how the conventional teacher feels threatened by emerging talents and squelches them because of a deep-seated desire to feel superior and safe in a safe environment.
Writing is something that you don't know how to do. You sit down and it's something that happens, or it may not happen. So, how can you teach anybody how to write? It's beyond me, because you yourself don't even know if you're going to be able to. I'm always worried, well, you know, every time I go upstairs with my wine bottle. Sometimes I'll sit at that typewriter for fifteen minutes, you know. I don't go up there to write. The typewriter's up there. If it doesn't start moving, I say, well this could be the night that I hit the dust.
Filmmaking materials are in the hands of more people now than ever before. I would like to think that the more people have these tools, the more people will learn how to use them, it's another argument I would argue for, personally, for art's education. Because there are kids who aren't that literate in screen language and they've got to know how people select shots, how people edit audio, how people combine things to make what they see on the screen. It would be like the 15th century or the 16th century in Germany, and somebody amends a printing press and you don't know how to read and write.
Virgin, is how good you are with people. If you're - if you're good with people and you've got - you know, and you really care, genuinely care about people then I'm sure we could find a job for you at Virgin. I think, you know, that, you know, that the companies that look after their people are the companies that do really well. I'm sure we'd like a few other attributes, but that would be the most important one.
I think that were I in the middle of an obsession to write about, say, sudden oak death in California or my grandchildren or time and memory and how they look when you get to be in your sixties, and I thought, "Well, yes but people are dying every day in Baghdad," I wouldn't feel guilty about not writing about Baghdad if I didn't have any good ideas about how to write about it.
How do you feel about a person when you're talking over the phone? If you know them, or if you don't know them, do you get something, do you put that into words of your own, from what they say, or from what you think? Or if it were music over the radio, have you ever tried to think how it would look?
You young people never say anything. And us old folks don't know how to stop talking.
All over the US, there is a need to teach young people to, really, get them out in the backyard, building treehouses, fixing bicycles, because you become a better, more well-rounded, Renaissance personality if you actually know how to do things with your hands. If you can fix the screen door or replace your old garbage disposal, even change the tire on a car, a lot of people don't even know how to do that. We're literally running out of people who know how to do those things, the essential things like plumbing, carpentry, stone masonry, we're literally running out of them.
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