A Quote by Chang-Rae Lee
I wanted to present a sweep and scope of larger events, and a grander backdrop, but most important was to set against that a very singular, real and modest people struggling with every day and human struggles.
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I really am just trying to tell stories. But stories are often grounded in larger events and themes. They don't have to be - there's a big literature of trailer-park, kitchen-table fiction that's just about goings-on in the lives of ordinary people - but my own tastes run toward stories that in addition to being good stories are set against a backdrop that is interesting to read and learn about.
Each of us carries around those growing up places, the institutions, a sort of backdrop, a stage set. So often we act out the present against the backdrop of the past, within a frame of perception that is so familiar, so safe that is is terrifying to risk changing it even when we know our perceptions are distorted, limited, constricted by that old view.
I love REAL set construction and think that sets are very important part of the storytelling and scope of a film.
When I started out, the most terrifying thing was when I had to be very, very emotional in front of lots of people. Now I've kind of learned that it is very important to keep talking all day, keep making jokes, and be connected with people, and be present. It's very important for me to be absolutely present in order to be emotional. I learned that is sort of the way I need to be.
Any artwork is part of something larger, grander and, you know, the situation that it's in is very important.
And we're seeing a higher level of consciousness and many more opportunities for people to challenge their present ways of thinking and move into a grander and larger experience of who they really are.
Taking care of your mental health is important, and being able to model that for queer people who are out there every day dealing with their own struggles is very significant.
Every day life must always be lived against the backdrop of eternity.
Today’s events are tomorrow’s history, yet events seen by the naked eye lack the depth and breadth of human struggles, triumphs and suffering. Writing history is writing the soul of the past… so that the present generation may learn from past mistakes, be inspired by their ancestor’s sacrifices, and take responsibility for the future.
At a time when history made its way slowly, the few events were easily remembered and woven into a backdrop, known to everyone, before which private life unfolded the gripping show of its adventures. Nowadays, time moves forward at a rapid pace. Forgotten overnight, a historic event glistens the next day like the morning dew and thus is no longer the backdrop to a narrator's tale but rather an amazing adventure enacted against the background of the over-familiar banality of private life.
Don't overlook the significance of your smallest opportunities for civilized behavior throughout each day. The future has no bigger moments than we experience right now. The world changes for the better with every act of kindness, and for the worse with every act of cruelty. The future is nothing grander than the very next moment, and it arrives solely from the present.
Never underestimate a populist. We have come to a moment where language is very important. Saying the media is the number one enemy of society is a way to create confusion and set people against each other. It's like a virus. Democracy dies and is born every day. If you don't take an active role in what is going on, somebody can easily steal it from you.
I tend to avoid melodrama. I try to create very realistic settings and very realistic experiences and realistic responses to these experiences. Melodrama is the use of really big events that may or may not happen in real life - certainly they do, but they're not events that are common to most people. Most of the things that happen in my novels are things that could happen to people in real life.
...we have to surpass ourselves every day, make every day undying. Climb our own personal Everest and do it in such a way that every step is a little bit of eternity. That's what the future is for: to build the present, with real plans, made by living people.
I've worked with people who wanted to be creative every day: it was like a goal to arrive with something very special. Sometimes it's just disturbing, because special is good when it's needed. But when it's not needed, it's confusing, and you go away from the authenticity by a strong desire to be unique and singular.
Most people don't really understand what it takes to get a film made, and the struggles .I think anyone who makes a film goes through their own set of struggles.
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