A Quote by Cole Sprouse
Going to college made me realize you have to have real spaces of privacy, and you have to establish those early.
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After I left college, I went to work at the Royal Opera House in London, which became a real catalyst for me because it made me realize that I was interested in cinema and in the way life is thrust at you. So I started making films.
Early in my career I was divided because I had the real self underneath: the lawbreaker, the anarchist, the person who swims against the tide, the outsider, the loner, all of that guy. He was my private self, and I had this other side that wanted to be liked in order to do all those things I dreamed of as a little boy. I didn't realize that those things didn't go together until later. And I'm quite sure that my use of acid and peyote helped me accept what was really going on inside of me instead of what I had imposed on myself.
Do people choose the art that inspires them — do they think it over, decide they might prefer the fabulous to the real? For me, it was those early readings of fairy tales that made me who I was as a reader and, later on, as a storyteller.
If you go into any department store these days, your picture is probably taken 30 times. In London there are 500,000 cameras in public spaces. You have no expectation of privacy in public spaces.
I lived in Nashville for about five years. It was almost like me going to college for my craft. I immersed myself in the songwriting community there. They embraced me, and I made some real friends but also learned so much.
I've always been interested in queerness and underground and fringe and periphery, and who and what flourishes in those spaces. Those spaces that are darker and dingier and more dangerous, more lonely. What comes out of there, to me, is the life force. I'm excited when the center reaches over to those places and pulls inspiration from them, and translates it for a lot of people.
If the goal is to dramatically improve college completion rates, not college-going rates by itself but college completion, it's not just a college problem. We need a big focus on early childhood education. Our early childhood education system is pretty good in this country. Not enough students have opportunity. And, very discouragingly, they lose their advantage because they go to poor schools after that. So, let's focus on our babies.
I'm proud of my stretch marks. For so long in my life, I thought those were things I needed to hide or things that made me imperfect, and I came to realize that those are the qualities that made me unique.
The Wellcome Foundation offered me the chance to establish a small academic research unit, modestly funded, but with total independence. The real opportunity, however, came from King's College, London.
I love the book signings, you know, because I get to talk to real people, and a staggering number of people have said something very specific to me. "The Family Leave Law saved my family," or "Made our lives better," or, "The education aid that you provided made it possible for me to go to college." One man at 50 years of age got his college degree.
I definitely want to continue being an actress. I love it. The reason I'm going to college is because I do want knowledge in another field. College isn't the college experience for me. I'm not going to be in a sorority. I'm not going to network. I'm not even really going to make my lifelong friends.
My aesthetic sense was formed at a young age by what surrounded me: the narrow residential spaces of Japan and the mental escapes from those spaces that took the forms of manga and anime.
Most Americans want a sense of privacy. A lot of us don't realize how much of our privacy we're exposing by the internet.
There have been a lot of events that have made me really look at the real world, like September 11th. There are so many things that just make you realize that you're not going to live forever and that you have to enjoy every day.
The poet Marianne Moore famously wrote of 'real toads in imaginary gardens,' and the labyrinth offers us the possibility of being real creatures in symbolic space...In such spaces as the labyrinth we cross over [between real and imaginary spaces]; we are really travelling, even if the destination is only symbolic.
It seems to me that everybody who's a success has made a decision to put themselves in a situation that eats away at their privacy. Their hours just don't end. Now, with actors it's extreme, because their privacy is almost nonexistent.
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