A Quote by Art Alexakis
For the most part, I don't like people who soapbox.
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I think cinema should provoke thoughts, sure, but using it as I soapbox I think is the wrong place. I never want to be part of something like that, where there's an agenda there that's not about telling a story, where its someone getting on a soapbox and preaching their own beliefs onto somebody.
I don't want to be on a soapbox, but I feel like a lot of documentary filmmakers are part of the ancient tradition of writing down notes, of saying, 'Hey people, hey people!'
If you have a lot of fans, you have a powerful soapbox, but you still have to have something to say when you're on that soapbox if you want to make a real difference.
As a novelist, I have a somewhat higher soapbox to stand on than most people do when it comes to talking back to the merchants of fear.
I don't like beating people on the head with the message. I don't like standing on the soapbox.
Movies can be effective in influencing people to think in ways they might not otherwise be exposed to. Social commentary in films is most effective when you're not aware of a soapbox. Making the point without force-feeding the audience is the most desirable approach.
I do like to hit people-I like the explosion of power and energy, and the feeling that I am untouchable because I can hurt people. But I hate that part of myself, because it is the part of me that is the most broken
I know that it's common for creative people to feel like they're profoundly misunderstood but for the most part I don't feel like that. I think most of the time people read my work in the way I intend.
I don't like to write rhetorically or get on a soapbox. I try to make the stuff multi-layered, so that it always has a life outside its social context. I don't believe that you can tell people anything; you can only draw them in.
If you capture the first thought that you have when you're creating, and then play that to people, it's kind of like the listeners are part of that beginning. And that's the most exciting part.
People will tell you most of the story… and I’ve learned that the part they neglect to tell you is often the most important part. People hide the truth because they’re afraid.
When you ask people what it is like being part of a great team, what is most striking is the meaningfulness of the experience. People talk about being part of something larger than themselves, of being connected, of being generative. It becomes quite clear that, for many, their experiences as part of truly great teams stand out as singular periods of life lived to the fullest.
Like most art forms, writing is part instinct and part craft. The craft part is the part that can be taught, and that can make a crucial difference to lots of writers.
the things that people are typically afraid of are what I find most exciting and unpredictable, and I guess that's part of the problem is people don't want something unpredictable wasting their time while the cameras are rolling, where to me that's by far the most interesting part.
For the most part, my characters don't talk to me. I like to lord over them like some kind of benevolent deity. And, for the most part, my characters go along with it. I write intense character sketches and long, play-like conversations between me and them, but they stay out of the book writing itself.
When it came to 'Binge,' it wasn't my intention to get on a little soapbox and have a teaching moment. It was more, 'Here are things that have happened to me; here's what I've learned from it. If you'd like to learn from it too, great; if you just like the entertainment aspect, that's fine too.'
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