A Quote by Aaron Lazar
I think that's why I'm an actor: so I can tell those stories without having to really live through those stories with real consequences and real stakes, real responsibility.
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You have to be driven by the stories that you want to tell. You can't simply be responding, or there won't be any real heart to those stories anymore.
Without archives many stories of real people would be lost, and along with those stories, vital clues that allow us to reflect and interpret our lives today.
Getting to share the stories in my head with other people and have them enjoy those stories, and having them come to see my characters as real. That's so cool.
I think people hear the words 'transcendental meditation' and 'paganism,' and that's almost worse because it's real. Those are real things. Those are absolute energies. Satanism is like Halloween. Transcendental meditation and having a realization of how we really are - whether we want to be or not - we live in a pagan culture.
When I look back at my life and think about what really happened, my memory is obscured by the stories I've created out of those incidents. In stories, as reality melds with art, the result sometimes feels truer than real life.
The short form, for those people who can master it - and I am by no means one of them - it is very admirable, because it is really hard to tell stories that can stick with the audience and still be between 5 and 30 minutes long. I think it's a real challenge.
The earliest influence on me was the movies of the thirties when I was growing up. Those were stories. If you look at them now, you see the development of character and the twists of plot; but essentially they told stories. My mother didn't go to the movies because of a religious promise she made early in her life, and I used to go to movies and come home and tell her the plots of those old Warner Brothers/James Cagney movies, the old romantic love stories. Through these movies that had real characters, I absorbed drama, sense of pacing, and plot.
Marvel is really about the stories of Peter Parker and Bruce Banner or Jessica Jones. These are - I'm hesitant to say the word, but - real people with real problems whose power comes, to use the great expression, with great responsibility.
I want to tell authentic, real stories with real characters.
I love to feature children and young adults as real people - flawed, naive, virtuous, venal - but real. I think it adds nuance and depth to the stories that wouldn't exist without them.
We're looking for stories that speak to us. We're looking for stories that connect us with something true. But, instead, a lot of the time we get strippers. All I'm saying is, when boys are writing the stories, the percentage of strippers is bound to go up. And real stories about real women kinda don't get written at all.
'Brooklyn's Finest,' this is the kind of movie that's why I want to be an actor, to tell real-life stories. This is where I feel my job is, to interpret life.
I'm uninterested in superheroes. I am only interested in real stories, real people, real connection.
Artists and writers have to deal with the element that makes the real real and the dream real while you are dreaming it. That's where stories and poems get their power.
AS SOMBRAS DA ALMA. THE SHADOWS OF THE SOUL. The stories others tell about you and the stories you tell about yourself: which come closer to the truth? Is it so clear that they are your own? Is one an authority on oneself? But that isn't the question that concerns me. The real question is: In such stories, is there really a difference between true and false? In stories about the outside, surely. But when we set out to understand someone on the inside? Is that a trip that ever comes to an end? Is the soul a place of facts? Or are the alleged facts only the deceptive shadows of our stories?
I do live with the very real possibility that we don't have endless stories to tell.
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