A Quote by Jaak Kilmi

It was life under the Soviet system - we were struggling with every big problem. Publicly, my parents had to queue up to buy food, but were able to live secret lives in their private rooms. With the TV set in the living room, we were able to see Western pop culture -a different reality from what we were living. For me, it was like two different universes existed at the same time, and we got used to being in these parallel universes.
As long as you identify with the universe - which is perfect and can correct material conditions to bring them back into alignment with that Divine perfection - as long as that is where your mind is aligned, it's as though there were two parallel universes. You decide with every thought you think which one you're going to inhabit. Two parallel universes of experience, as it were.
I lived in Saudi Arabia in the late 1970s. It was, for a Westerner, pretty idyllic. There were the religious police; there were the rules; there were the prayer times. But it was as if we were existing in two separate universes. The Westerners were just allowed to get on with their way of life.
I think it turned the whole sport around. It got everybody's attention. People who were watching TV live were jumping up and down in their living rooms.
I grew up on the side of the stage. I never had a fear of an audience. I never felt like they were separated from us. We were all in the living room, and it happens to be a big living room. I continue to operate on that assumption.
The earthquake in Haiti was a class-based catastrophe. It didn't much harm the wealthy elite up in the hills, they were shaken but not destroyed. On the other hand the people who were living in the miserable urban slums, huge numbers of them, they were devastated. Maybe a couple hundred thousand were killed. How come they were living there? They were living there because of-it goes back to the French colonial system-but in the past century, they were living there because of US policies, consistent policies.
Before I was born, my mom and my dad, they used to rescue dogs, so at one point, they had 13 dogs. And they were all from different litters. It wasn't like they were bred. They were all from different people. And they were all different ages. When I grew up at my dad's house, I think we had seven at one point.
There was a commonality in a lot of the private school experiences that I had of children whose lives were not their own. They thought they were their own, but they were essentially gifted this life by their parents. So they were spending money; they were going on trips - I guess, in a way, it is their life, but they didn't earn it.
These boys, now, were living as we'd been living then, they were growing up with a rush and their heads bumped abruptly against the low ceiling of their actual possibilities. They were filled with rage. All they really knew were two darknesses, the darkness of their lives, which were now closing in on them, and the darkness of the movies, which had blinded them to that other darkness, and in which they now, vindictively, dreamed, at once more together than they were at any other time, and more alone.
The Comedy Store - all three rooms were filled with 800 people in the room. And during that time, all these guys and some women, but mostly guys who weren't funny were doing stand up for a living; they weren't accountants, they were making $30-$50 grand a year on the road, or more.
I remember as a kid, my mom had to trade canned food to buy my brother and me chocolate because we were living in Serbia at the time, and there were sanctions. If I catch myself complaining about going to a red carpet event, I say, 'Shut up.'
My parents are from the South - they were both born in Birmingham - so my dad saw R.E.M. really early on when they were playing college stuff in Athens. He had a bunch of their cassettes from the '80s, and when I was 8, 9, or 10, those were the sort of things that were around the cassette player in the living room.
My parents were serious working musicians, but they were not stars - not like pop stars that you have now. They had to make a living and that meant touring, working hard, going on the road - and we were roped in.
For 'Frost/Nixon,' I had eight people who were present at those interviews - they were all in the room - and when I interviewed each of them, they had a totally different narrative of events, to the degree where you thought, 'Were you all really in the same room?'
My parents both renounced their material lives and were living as monks at an ashram in L.A. when they met each other. So we were always raised in this environment and when we moved to the ashram in Florida it was just like, "Oh, wow, now all of a sudden there's more people like us," because we were growing up in the middle of Texas with our parents, always being the weirdos.
Voltaire's novel [Candid] offers us parallel universes, the possibility of entering into alternative worlds existing side by side, and this is something quite modern. Nested narratives and parallel universes are popular at the moment in many different art forms.
Modern thinking is that time did not start with the big bang, and that there was a multiverse even before the big bang. In the inflation theory, and in string theory, there were universes before our big bang, and that big bangs are happening all the time. Universes are formed when bubbles collide or fission into smaller bubles.
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