A Quote by Charlize Theron
At the end of the day, I'd much rather do a piece about people in a story that I find riveting and intriguing and moving, versus really carrying some kind of heavy political agenda on my sleeve. That's not who I am.
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It's very dangerous for a storyteller to walk into a situation with a political agenda because you end up telling a story about issues instead of telling a story about people.
Some people are very much comfortable working out in gyms. Basically, it is all about movement. If you are comfortable moving in a gym, that is absolutely fine. But gymming does not work for me. I don't like carrying those weights and doing workouts on those heavy machines.
The story of Bennet Omalu is a riveting story; it's just a riveting tale. I knew from the beginning if I stayed close to that kind of storytelling and focussed on the character, then the other stuff comes along with it, and the message becomes baked into the journey.
In a very real way, one writes a story to find out what happens in it. Before it is written it sits in the mind like a piece of overheard gossip or a bit of intriguing tattle. The story process is like taking up such a piece of gossip, hunting down the people actually involved, questioning them, finding out what really occurred, and visiting pertinent locations. As with gossip, you can't be too surprised if important things turn up that were left out of the first-heard version entirely; or if points initially made much of turn out to have been distorted, or simply not to have happened at all.
Many of us came away from our youth thinking that the story of the Revolution was that the Americans were patriots fighting the oppressive British. It was kind of good versus evil, liberty versus tyranny. When you get into it, you find that it was much more complicated.
In a budget, how important is art versus music versus athletics versus computer programming? At the end of the day, some of those trade-offs will be made politically.
What happened on "As Cool As I Am" was, you know how in the `90s, "the personal is political, the political is personal"? That was a really big thing. Choices you made about how you recorded and what instruments you used and how much real versus how much synthetic. Those were choices that were seen as very political at the time.
We're not going to let some unelected bureaucrats in Washington stop us from moving forward with our agenda, but at the end of the day, CBO is not the Holy Grail.
The criteria [to take or refuse the role] is that I would love to have some kind of dialogue or communication with the director. I need to understand that we can communicate and that we like communication. That's something I have to have a strong feeling about. Secondly, I have to find the script intriguing or interesting. I don't have to understand the whole script, but I do have to find it intriguing. If those two things are present, that would probably be a yes.
There's no hidden agenda, no political agenda [in Patriots Day]. The only politics we were really talking about was the politics of community, the politics of social love.
I might find that I have a habit of being jealous and comparing myself with other people and riveting my attention on how much somebody else is accomplishing or doing, or how much better they are at such and such. First, I might recognize the story - the mental images and internal dialogue - and say, "Okay, comparing mind." Then, rather than staying caught in the content, I'll bring my attention into my body and open to the immediate feelings that are there.
The fact is some people really love my work, some people not so much, but at the end of the day, I don't want anybody coming out of the movie thinking about me.
When people used to call me a political writer, it was kind of confusing because I was always much more interested in the social end of things which hinges on the political, but it isn't really part of it.
When people used to call me a political writer, it was kind of confusing because I was always much more interested in the social end of things which hinges on the political, but it isn’t really part of it.
It's really an orchestral piece featuring a group and it was quite revolutionary at the time and it in fact, it kicked Deep Purple off as a name in Great Britain because it made all the newspapers. Everyone was writing about us. And there was some confusion as to what kind of band we were after that, which is why Deep Purple in Rock is such a hard unbending album of really furious hard heavy rock. Heavy metal hadn't been invented at that point.
The heavyweight division is always very intriguing. These are the heavy hitters, you know? Every time when you do a mistake, it's the end of the fight. So you have to be careful all the time, and this is what makes this division so intriguing, so exciting for the fans.
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