A Quote by Adrienne Rich
I don't want to succumb to the idea that for the generation, or generations, raised on television, the text is irrelevant or so intimidating that they won't deal with it. If you teach, you see this is not true. It may be that newer generations do not worship the text as some of their elders do.
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With Orff it is text, text, text - the music always subordinate. Not so with me. In 'Magnificat,' the text is important, but in some places I'm writing just music and not caring about text. Sometimes I'm using extremely complicated polyphony where the text is completely buried. So no, I am not another Orff, and I'm not primitive.
For us, it's a matter of just staying alive and getting the best deal we can now. Eventually, this will all straighten out. It may be two generations away or 10 generations away, but time is irrelevant in that sense. As long as we, as a people, stay alive, we will survive.
The person sending ironic text messages has no idea that their voice does not sound so great in text. There's no dry sense of humor in a text. It comes off as a little bit shitty.
When you teach on a familiar text, you're capitalizing on common knowledge. When you teach on an unfamiliar text, you're having to build a bridge of understanding, and we need to do that as well.
Generally, the imagery and the text go hand in hand. It's much easier when the text comes first, but sometimes I need visual stimulation in order to find the words. I get an idea of what I want when I begin to shoot, and the text is usually the last thing to be resolved. I tend to leave the text open, and I refine the words up to the last minute. As for the image, I can resolve that and get that done fairly quickly.
That definitely I feel is part of my generation: social networking, communication over the Internet, whether it's Skype or IRC or some form of text-based chat, text messaging.
The evidence that I see around me in society indicates that not only is thinking very much out of favor, but I'm not sure that the last couple of generations - Generation X and Generation Next, or whatever you want to call them - even know what a thought is, having been raised to be women.
My approach is not a scientific approach. For that, we have greater minds than mine. My approach is: I am in the possession of a text, it has survived so many centuries, and it is my task, my pleasure, to try to decipher it and find all the things that have been said about these few words by generations and generations of commentators. That is what I'm doing. I don't innovate anything. I'm just repeating.
Whether you're Godard or Almodovar or Scorsese, it's text, text, text. Everything begins with the text, and this is a source of great anguish to me. So please let cinema get on with doing what it does best, which is expressing ideas in visual terms.
At some point I realized that the text was the painting and that everything else was extraneous. The painting became the act of writing a text on a canvas, but in all my work, text turns into abstraction.
Colin [Farrell] I talked to several times on the phone, and I said, remember, we have only twenty-five days of doing the movie [Miss Julie], so you must know some of your text. I was a little un-feminist, I didn't want to say [bossy voice] "learn your text!" But when he came, he knew all his text.
There is a mysterious cycle in human events. To some generations much is given. Of other generations much is expected. This generation of Americans has a rendezvous with destiny.
The discourse on the Text should itself be nothing other than text, research, textual activity, since the Text is that social space which leaves no language safe, outside, nor any subject of the enunciation in position as judge, master, analyst, confessor, decoder. The theory of the Text can coincide only with a practice of writing.
We have a text before us, an ancient text, a living text, and we try to enter it, not only to decipher it, but to penetrate it, to become part of it, similar to the way every student becomes part of a teacher's texture. That's how I see our [with Frank Moore Cross] two differing approaches.
I think whatever generation you're in has a nostalgia for the generations past and the generations you weren't in.
I am concerned that Millennials are stressed out. They have a higher suicide rate than other generations at their same age. They have the highest diagnosis of depression at their age than other generations. I think we have raised a generation that does not know how to be sad. They are programmed for success and the threat of failure is devastating.
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