A Quote by Jerry Saltz

The reason I love blogs so much right now is that I am seeing more critical voices appear, and that's kind of thrilling. I think a lot of critics in their forties or even their thirties have had their voice scared or trained out of them by the academy. I have nothing against the academy. I think it's brilliant and fantastic, but I also think that it's become almost monolithic. The same way a lot of art looks the same, a lot of writing can sound the same and quotes the same theorists.
The Internet is the new public space. And because women are out in public, people don't like that in much the same way that if you're walking down the street you get harassed. I think the same kind of thing happens online, and I think that's why a lot of women are hesitant to put their voice out there.
Moving to San Francisco affected me in a pretty profound way, in a lot of respects. I think it helped me evolve my sound and think outside of the space I'd been in in Sacramento. The scene there is so insular and kind of feeds on itself: you just end up playing the same shows with the same people for the same people.
I think there's a lot of similarity between what people try to do with religion with what they want from art. In fact, I very specifically think that they are same thing. Not that religion and art are the same, but that they both tap into the same need we have for surrender.
But again, we, I think, over the years have set the example for a lot of nations that may not have had the same values, the same type of coming out of the same culture that we as Americans have and enjoy. But we can be an example, a role model to them.
But again, we, I think, over the years have set the example for a lot of nations that may not have had the same values, the same type of coming out of the same culture that we as Americans have and enjoy. But we can be an example, a role model for them.
I think teams make the same decisions every year based on the same information and based on the same decision-making. I think a lot of it is flawed, but it's the way they draft.
It's a good thing that me and Coach Gruden think the same way. Him and I are more similar than people even know. We just are... him and I think the same way, we watch, we study the same way and all those kind of things.
It doesn't matter what word we use, if it has the same content, it will be treated in the same way. There are other words - there's "womanist," there's "mujerista," there's "women's liberationist" - all mean the same thing and they get the same ridicule. I think we just need to choose what word we feel comfortable with that says women are full human beings, and whatever that word is, it will get a lot of opposition. But it will also attract a lot of support. But this is a revolution, not a public relations movement.
A lot of artists go in the studio and say, 'OK, whaddaya want me to do? Is it gonna be a hit? I'll do it. Is it gonna get played on the radio? I'll do it.' So they start makin' these songs, and they fall in the same tempo, same category, same this, same that, and it'll just all sound the same.
I think coming off of "Blame", I've been talking a lot about directing. It's something that I really love and connect with. I truly consider it what I was born to do. That kind of loops in with filmmaking on the whole, because when you create something, you're also wearing a lot more hats than just director. At the same time, I also think acting is something that's very powerful in my life.
It's still the same job, the same anxieties, but it did feel a lot different, that kind of budget, that schedule, and frankly, the slowness of it all, and also having a lot of other units working.
There's a lot of American citizens out there that do jobs that they hate, day in and day out. For me to do what I love to do, with people that I like and enjoy being around who are chasing the same dream, same passions, to have that around you day in and day out, I think it says a lot.
I go all the way back to the Hot Boys days and being 13, listening to this dude. Just remembering the staple he put on the game back then all the way to now, to have that longevity years beyond it. So for him to actually acknowledge what I'm doing right now and seeing it as a path, the same way the longevity he created, it's a great feeling to actually share that same stage and a moment with him. Wayne ain't no new jack to this game. He influenced a lot of styles and a lot of sounds. I would say I was influenced by a recent sound and flow, and cadence that he brung to the game.
My job the same as carpenter. What kind of house you want to build? What kind of food you want to make? You think your ingredients, your structure. Simple. [Other] Japanese restaurants … mix in some other style of food and call it influence, right? I don't like that. … In Japanese sushi restaurants, a lot of sushi chefs talk too much. 'This fish from there,' 'This very expensive.' Same thing, start singing. And a lot have that fish case in front of them, cannot see what chef do. I'm not going to hide anything, right?
One of the first roles I had on stage was with a brilliant director in a brilliant play with a brilliant cast, but I just couldn't find my way into the heart of the character. I found myself straining a lot. When it started. I felt lost. That was the Eugène Ionesco play Rhinoceros. I don't think I was prepared for that. I don't think I had the full tool kit to do it justice. It's a very difficult play, it's an extraordinarily difficult part, and I never felt I really got it right. Far from it. To a degree, Hamlet was the same.
In the West, we look at art through life. Well, that's one way of living. In the Orient they look at life through art. They even drink their tea without sugar, for the same reason that they don't like a lot of frilly decorations on a painting. I can't stand butter on my bread for the same reason. I'm allergic to goo and rococo.
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