A Quote by Abbas Kiarostami
Anything I've not experienced I do not look to for a subject. I have to feel it.
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"Simply look with perceptive eyes at the world about you, and trust to your own reactions and convictions. Ask yourself: "Does this subject move me to feel, think and dream? Can I visualize a print - my own personal statement of what I feel and want to convey - from the subject before me?""
I had never experienced anything like it before and I don't think I have experienced anything like it since [on Ruapehu]. It was my dreams coming true in a way, and from there on I tended to become more of a doer than a dreamer.
Further, in writing, I feel corrupt and unethical if I have to look up a subject in a library as part of the writing itself. This acts as a filter--it is the only filter. If the subject is not interesting enough for me to look it up independently, for my own curiosity or purposes, and I have not done so before, then I should not be writing about it at all, period. It does not mean that libraries (physical and virtual) are not acceptable; it means that they should not be the source of any idea.
The insidiousness of science lies in its claim to be not a subject, but a method. You could ignore a subject; no subject is all-inclusive. But a method can plausibly be applied to anything within the field of consciousness.
I feel L.A. is unlike anything I've experienced. It's nice when I can relate to people, but that's not very often. I know they're out there, but I feel that there's a very big pressure here to be seen as being gorgeous and special. I don't think there's the same pressure in Australia.
Only sometimes you can't feel anything about a subject without hypothesizing its extinction.
Music is not a subject to be discussed. It has to be experienced.
Thus inevitably does the universe wear our color, and every object fall successively into the subject itself. The subject exists, the subject enlarges; all things sooner or later fall into place. As I am, so I see; use what language we will, we can never say anything but what we are.
Nirvana's not like anything you've ever known or experienced because it can't be known or experienced.
The Muslim Arbitration Tribunal, if you look at its website, it basically deals with commercial disputes, it's not allowed to deal with matters involving children, it's not allowed to deal with criminal matters, it's subject to judicial review, it's subject to the Human Rights Act, it's subject to the Children's Act, and it's completely proper and right that it should be subject to all those things.
So that a famine price is vague, and the plan subject to all the inconvenience now experienced.
Looking at the shape of the world, I see how we're in a time where women are the subject of hatred, fear, and we have to fight that all the time. I feel that there are fights we take for granted. When I look at the world, I see that women are subject to cruelty. And that's why the global gag rule means so much to me, that the United States wouldn't stand up for the rights and health of women.
I just feel "One More Try" is better lyrically. "Careless Whisper" was written when I was 17 years old, and I had not really experienced anything that strong in my life, so it was a bit precocious.
I have always had a tendency to keep enlarging problems which I personally think is the way the world works... that seeing anything one dimensionally on the kinds of political, sort of big issues of human progress is going to be a distorted view of things, which is why over my career I have gone seemingly from subject to subject to subject.
The way I need to look, it's a very personal thing. When I started experimenting, it was to make myself feel happy, to look in the mirror and be satisfied. I never did drag or anything like that. It was always that I wanted to be pretty, to look beautiful, as a girl would want to.
What I found interesting in dance is the idea that my work has always been dealing with the nervousness between the human subject as a subject and the human subject as a form. And if you look at my dance films, there are always these cuts between the dancer as a form, the dancer as a subject, and this kind of very harsh treatment of the dancer as someone who's actually drawing with their body.
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