A Quote by Cole Sprouse
It's no new narrative to say that when people get out of child stardom, they oftentimes rebel in very serious ways.
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As someone who was born and raised in Los Angeles, I was really interested in the idea of people who move here to get into the business, and some of them do become famous and then oftentimes they fall out of that fame in very terrible ways.
You get a lot of narrative energy from people who make really big mistakes, who act against their best interests, who do things that turn out to have serious consequences. It's very hard make a story out of people doing the right thing over and over again.
More generally, I made an effort to leave out things that weren't relevant to the main narrative themes of the book, namely that there were two sides to Steve Jobs: the romantic, poetic, countercultural rebel on one side, and the serious businessperson on the other.
I really wasn't very much of a rebel. I'm seen by people now as more of a rebel which is strange. I don't like doing what people tell me to do. I don't deliberately rebel against them.
I'm interested in ways that digital interfaces can be utilized as powerful narrative devices, and to engage people in new and exciting ways.
I love musicals but it's very, very different. It's really just a different form than serious drama, and has very different rules and a completely different set of characters and requirements and ambitions. It maybe shouldn't be as separate as it is, but it's got a different history. In terms of serious drama, I think you'd have to say that you could break it down essentially into the narrative realist tradition and experimental theater.
I found that life for me gets a lot more serious as you get older. You start off young and happy and smiling and "Wooo! I'm having fun!" And then you get married, and that's very serious, and you have kids, and that's very, very serious. So as you get older, you start thinking about passing away, and that becomes extremely serious.
When you have the national narrative being "crack is awful and black people are using it," why go against that narrative when you want to get that publication in The New York Times or wherever? It encourages people to play right into it.
For queer people, the personal is very political, just to talk about it in a public space. It's very political just to come out and take up that space and be like, 'This is my narrative. It's not an outsider narrative, and it's not a fetish narrative; it's just my story, and it's worth being told and listened to.'
Rebel, rebel, you've torn your dress. Rebel, rebel, your face is a mess. Rebel, rebel, how could they know? Hot tramp, I love you so.
Children are very overprotected now, in lots of ways. We're very nervous about them. You know, people go, "Don't go outside! Or inside! Get into the cupboard with some spinach!" When I was a child they'd kick you out and you weren't expected to come back until there were bats!
Andy was not a hippie or rebel but more like a mischievous child. He was never out to destroy everything. He became a New Yorker, and New Yorkers know, like the media, what's going on around them is a fashion thing that will change to something else.
It's very easy, when things like the gay marriage write-in happen, to get sick of how people view language and say, "ah, come on it's just a dictionary." But then you hear from people who say if you take out "retarded" it won't exist anymore, and there will be no slurs for people to call my child. And that's just heartrending.
The narrative oftentimes is that everything that comes out of the hood is 'real,' and so I thought, 'I'll base it on the absurd, the not real. I'll twist the idea of real on its head and see if I can get away with it. I'll make paintings that come not from a place but through an abstract gaze.'
I'm gonna say this and I really mean it - I'm very thankful that I'm not a huge star. I've all the stardom and celebrity that I can handle. But I also have peace and quiet. I am left alone. And I am not recognized everywhere I go and it's perfect. I can come and fill the theatres and I get on stage ... people say: "Well, oh yeah, that must be him," you know?
Get out of the office. Roam the frontline. Be observant. Hold your people accountable for creating the new narrative, a new story, in which your customers are the most important "characters". Because, you know, they really are.
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