A Quote by Chris Patten
There is a sort of exotic preposterousness about a lot of elections, the way arguments are made even cruder.
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I was lucky that one of my first movies, 'One Million Years B.C.' was made in Europe by a British company. The Brits, and a lot of the rest of Europe, seemed to really love exotic women. The fact that I was American and exotic just made me more appealing to them.
I believe in what I believe, and I think after all these years I've heard a lot of arguments, and I'm convinced by the superiority of the arguments that are made on the conservative side. I think that's a better way to run a society.
Highly technical philosophical arguments of the sort many philosophers favor are absent here. That is because I have a prior problem to deal with. I have learned that arguments, no matter how watertight, often fall on deaf ears. I am myself the author of arguments that I consider rigorous and unanswerable but that are often not such much rebutted or even dismissed as simply ignored.
There are legitimate, even powerful arguments, to be made against the Bush administration's foreign policy. But those arguments are complicated, hard to explain, and, in the end, not all that sensational.
God, you Jews are truly exotic." Exotic? She should only know the Greenblatts. Or Mr. and Mrs. Milton Sharpstein, my father's friends. Or for that matter, my cousin Tovah. Exotic? I mean, they're nice, but hardly exotic with their endless bickering over the best way to combat indigestion or how far back to sit from the television set.
Calling something exotic emphasizes its distance from the reader. We don't refer to things as exotic if we think of them as ordinary. We call something exotic if it's so different that we see no way to emulate it or understand how it came to be. We call someone exotic if we aren't especially interested in viewing them as people - just as objects representing their culture.
Because of mathematics precise, formal character, mathematical arguments remain sound even when they are long and complex. In contast, common sense arguments can generally be trusted only if they remain short; even moderately long nonmathematical arguments rapidly becomes farfetched an dubious.
I still come from a very working-class family. My mother's still a cleaner. And my brother is the gas man. And my other brother runs a cab. I have become a stratified, different, exotic beast, even more so than I was when I was a young gay man. I just sort of built on that. Now that I've made several films, I don't even know how to placate them with money like so many people do with their families.
The United States is a special case, and for me, very interesting. It's studied carefully and we know a lot about it. One of the most striking features of the elections is the class-based character of the vote. Now, class is not discussed or even measured in the United States. In fact, the word is almost obscene, except for the term "middle class." And you can't get exact class data; the census doesn't even give class data. But you can sort of see the significance of it just from income figures.
If you write a lovely story about India, you're criticized for selling an exotic version of India. And if you write critically about India, you're seen as portraying it in a negative light - it also seems to be a popular way to present India, sort of mangoes and beggars.
I really became aware of the fact that, oh yeah, whereas a lot of other shows are sort of cynical or jaded or just sort of coming from that sort of energy, our show is very, very about these love-based relationships. It really comes out, a lot of times, in a sweet way. And I think people find that refreshing about our show. That's one of the things I definitely picked up on.
I write a lot on airplanes actually because it's completely isolating; there's no one to talk to, there's nothing to do. And then I think a lot of it sort of comes out sitting down with the people I'm co-writing with and talking to them about what I'm going through and what I want to say. It just sort of happens; every song came about in a completely different yet organic way.
I don't think being a star has ever been part of the plan. But I always want to do really good work, even when I made career moves with projects that made more sense in sort of a career way than in an artistic way... like I did with 'The Darkest Hour.'
The song is based on a lot of observation and a lot of speculation. But in sort of a pointed way its kind of about Madonna...I think it was a particular time where I was being bombarded with her image on TV and in magazines and her whole schtick kind of speaks to me in that way...like she's going through some sort of problem. It seems she's getting a bit desperate.
My sense from talking to college students is that you have a healthier sense of the diversity of opinions or arguments or analysis about issues. In our day it was just sort of, "Well gee, this is what the news says so that's the way it is." It didn't really get challenged that much.
Records became much cruder in the last 20 years. Let's put it that way.
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