A Quote by John Cameron Mitchell
I actually came out the year that AIDS hit the front pages. So there was this mixed feeling about it - excitement that life's finally begun, but it was completely tied up with mortality and danger and politics.
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I grew up in a racially mixed neighborhood. So going over to friends' houses for dinner, their parents listened to Al Green and Luther Ingram. It was something that hit me early on, the feeling that came across.
I found out about it probably 9 - 10 months before we shot the film [Don't Kill It] because it was postponed a couple of times, which was actually a good thing because once it all finally came together, I had to get in there and roll off different pages of dialogue and monologues pretty quickly.
On December 8, 1921, when the Leopoldina set sail for Europe, we were on board. Our life together had finally begun. We held on to each other and looked out at the sea. It was impossibly large and full of beauty and danger in equal parts-and we wanted it all.
You've got to watch the politics of AIDS. The politics of AIDS can work both for and against the victims of AIDS.
I don't know what's more embarrassing, these musicians and actors talking about politics in interviews or the media actually giving them credibility about it. It's absurd that a celebrity could speak out on the economy or politics with no more justification than a hit album or a movie.
My idea of what was going on in politics was driven by activism. I came out when I was 17, and right away I started working in the AIDS activist movement. For me, politics was about getting drugs approved and getting prisoners access to the same kind of drugs that you could get on the outside. It was about getting needle exchanges approved. That was politics. These were policy problems that were killing people, and we were trying to get them changed.
As a writer you're holding a dog. You let the dog run about. But you finally can pull him back. Finally, I'm in control. But the great excitement is to see what happens if you let the whole thing go. And the dog or the character really runs about, bites everyone in sight, jumps up trees, falls into lakes, gets wet, and you let that happen. That's the excitement of writing plays-to allow the thing to be free but still hold the final leash.
I was reading newspaper front pages from the 1930s, and I was taken aback. I'm not naive about American history, but I was a bit knocked off my feet by things that used to be on the front pages of newspapers.
A bunch of my fans have come up to me and said, 'Because of you, and because you came out, I have finally begun to accept myself.' That is infinitely incredible for me. I didn't expect to get to the point where I would own up to it within myself.
You know in 1982, the year we came in tied for 3rd, we probably had a better team - I mean as far as talent. When we came back the following year and won it, our pitching staff was a little more experienced and it was such a thrill.
The Revelation was my master's project, and after I finished it, I thought I'd send it off to a publisher and within a year or so be a rich and famous writer. Two years later I finally sold it. For a whopping $4,000. A year after that, it finally came out. Which explains why there are all those terrible jobs on my resume!
I actually came from the fashion side, so maybe I knew more about fashion - and music like hip-hop because I was a DJ - so it was really successful when we mixed it all up together.
Think excitement, talk excitement, act out excitement, and you are bound to become an excited person. Life will take on a new nest, deeper interest and greater meaning. You can think, talk and act yourself into dullness or into monotony or into unhappiness. By the same process you can build up inspiration, excitement and surging depth of joy.
I write a lot on airplanes actually because it's completely isolating; there's no one to talk to, there's nothing to do. And then I think a lot of it sort of comes out sitting down with the people I'm co-writing with and talking to them about what I'm going through and what I want to say. It just sort of happens; every song came about in a completely different yet organic way.
I think I started out okay but with AIDS came a great deal of silence about gayness and this period of lose and morning, but at the same time a kind of feeling like you wanted to get back into the closet because being gay was such a terrible thing at that point.
When 'Joker' came out in '73, I finally got a viral hit. Every DJ who heard it played it.
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