A Quote by Elie Wiesel
Occasionally, I come to moments of anguish in the text.
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Whether you're Godard or Almodovar or Scorsese, it's text, text, text. Everything begins with the text, and this is a source of great anguish to me. So please let cinema get on with doing what it does best, which is expressing ideas in visual terms.
With Orff it is text, text, text - the music always subordinate. Not so with me. In 'Magnificat,' the text is important, but in some places I'm writing just music and not caring about text. Sometimes I'm using extremely complicated polyphony where the text is completely buried. So no, I am not another Orff, and I'm not primitive.
I like acting with no lines because all of a sudden you're able to express things without always worrying about the text. It's great to have a great text, but there's a lot of stuff you can't say in words, and I think there's something really nice about good physical moments.
There's really no question that there is an anguish associated with the inability to marry in this life. We feel for someone that has that anguish. I feel for somebody that has that anguish. But it's not limited to someone who has same-gender attraction.
In struggling against anguish one never produces serenity; the struggle against anguish only produces new forms of anguish.
Theatre is, occasionally, capable of moments of truth.
The discourse on the Text should itself be nothing other than text, research, textual activity, since the Text is that social space which leaves no language safe, outside, nor any subject of the enunciation in position as judge, master, analyst, confessor, decoder. The theory of the Text can coincide only with a practice of writing.
The person sending ironic text messages has no idea that their voice does not sound so great in text. There's no dry sense of humor in a text. It comes off as a little bit shitty.
Well, it's true that you often kind of forget to see the person you're most intimate with, but occasionally I'll come to and sort of think, 'Oh my God! You're really, really good-looking! I'm embarrassed now! It's nice to occasionally have that flash.
Do not be reactive and vengeful and if you look deeply into your anguish, you will see that it is the anguish of our wounded collective soul.
There are moments of high mood, there are moments of low mood, there are moments of injury, there are moments of strength, there are moments of progress, there are moments of stagnation. All we can do is keep on pushing.
A part of my appreciation for the good which moments bring has come from awareness and recognition. But it has also come from a correspnding sadness which arises from their passing. When something that can never quite be reenacted comes to an end (and all moments are that way), I feel a pensiveness within. This pensiveness gives my life a quality that might be best described as bittersweet. And those moments take on double meaning and richness - because they are here now - and because they will not always be.
At some point I realized that the text was the painting and that everything else was extraneous. The painting became the act of writing a text on a canvas, but in all my work, text turns into abstraction.
Canelo's going to have his moments. I'm not saying he's not. But I'm going to have my moments. It will come down to who can finish off their moments and finish the fight the best.
I didn't mind writing incoherently, up until about 1980, occasionally. But after that, I decided, might as well be articulate. And I found, though, that writing poetry affected my prose to the point where I never again wrote in one draft, and my prose just took longer and longer and longer. It took longer and longer to come up with an acceptable text. And that's probably one of the reasons that my output has slowed down.
Because the great thing about fairy tales and folk tales is that there is no authentic text. It's not like the text of Paradise Lost or James Joyce's Ulysses, and you have to adhere to that exact text.
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