A Quote by George C. Wolfe
A lot of '20s musicals were a hodgepodge of melodrama, mixed with operetta and romance, and then some sense of modernism and some sense of irreverence.
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I regard the 'Descendants' as a melodrama, and all scenes have been the trappings to increase the element of romance, I thought. In that sense, I am very satisfied and have great respect for the decisions of the writers.
I was a huge horror fan, especially in my teenage years. Back then, there were a lot of Italian horror movies - some zombie, some just really strange movies that made no sense. I was really into shock and gore.
My only claim to music is a good sense of rhythm, and I have been in musicals and done some singing.
Talking about the fact that I get depressed or that I've had some suicidal issues in my life is not easy. I don't know of many comedians who are going all in on that. In some sense, I think I've maybe sacrificed some momentum doing that. In another sense, I'm in a place where if I can talk about that and if it helps some kid in a way that gives them some help that wasn't available to me when I was a kid, then I gotta do that. Put being a good person first. If you have a platform, use it for stuff that's noble and good and worth putting out in the world.
It is not easy to convey a sense of wonder, let alone resurrection wonder, to another. It’s the very nature of wonder to catch us off guard, to circumvent expectations and assumptions. Wonder can’t be packaged, and it can’t be worked up. It requires some sense of being there and some sense of engagement.
I think art comes from some sense of discomfort with the world, some sense of not quite fitting with it.
If refined sense, and exalted sense, be not so useful as common sense, their rarity, their novelty, and the nobleness of their objects, make some compensation, and render them the admiration of mankind.
You know, I might miss some of your witticisms when you’re gone, but one thing I won’t miss? Your overwhelming sense of melodrama and despair. It’s too much even for me.
The moment in the account of Adam and Eve in the book of Genesis is when they realize they're naked and try and cover themselves with fig leaves. That seemed to me a perfect allegory of what happened in the 20th century with regard to literary modernism. Literary modernism grew out of a sense that, “Oh my god! I'm telling a story! Oh, that can't be the case, because I'm a clever person. I'm a literary person! What am I going to do to distinguish myself?...a lot of modernism does seem to come out of a fear of being thought an ordinary storyteller.
When you're fund-raising for schools, then something's wrong. We seem to have lost some sort of sense of what the common good is, and if you don't have a sense of what the common good is, then at least give to what you think your specific goods are.
I suppose everyone continues to be interested in the quest for the self, but what you feel when you're older, I think, is that ... you really must make the self. It is absolutely useless to look for it, you won't find it, but it's possible in some sense to make it. I don't mean in the sense of making a mask, a Yeatsian mask. But you finally begin in some sense to make and choose the self you want.
In so many ways, a lot of the drive I've had to do certain things has been because of this sense that I have both the opportunity and in some sense the obligation to ratify that my parents' life had purpose.
Donald Trump understands sense of belonging. And a lot of people think globalization, any time you make any particularity, you're sort of offending some other group. And a lot of people in this country think they belong to America anymore, and he at least appeals to some sense of belonging. I like the idea that we belong to Western traditions, so I'm glad he appeals to that sort of thing.
I try to tell the best story, and the story that has some heart and some genuine terror and some social commentary and some comedy and some romance and some sex and some violence.
Those years on the golf course as a caddie, boy, those people were something. They were vulgar, some were alcoholics, racist, they were very difficult people to deal with. A lot of them didn't have a sense of humor.
I first got a sense of that idea of nodality - but I didn't use the word back then - with 'The Missing of the Somme': that sense of a particular place in a landscape or on a map having some kind of tremendous power to draw us to itself... that made me conscious, and since then, really, it has been an abiding concern of mine.
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