A Quote by June Diane Raphael
It's very hard, I think especially for women, to not take it in and to not be super conscious of the way that you're being seen, which is of course completely antithetical to the work you want to do, which is completely free and bold and truthful and honest and brave.
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A great literary work can be completely, completely unpredictable. Which can sometimes make them very hard to read, but it gives them a great originality.
As the world transforms, moves closer together, jobs are displaced, and the world of work completely changes the way we live, the way we think. As that revolution goes on around us, it is going to pose political challenges of which immigration is one very obvious one, which are going to be extremely difficult to deal with. But it's like free trade. You know, in the end, if we go protectionist, we'll make a mistake.
Further conceive, I beg, that a stone, while continuing in motion, should be capable of thinking and knowing, that it is endeavoring, as far as it can, to continue to move. Such a stone, being conscious merely of its own endeavor and not at all indifferent, would believe itself to be completely free, and would think that it continued in motion solely because of its own wish. This is that human freedom, which all boast that they possess, and which consists solely in the fact, that men are conscious of their own desire, but are ignorant of the causes whereby that desire has been determined.
Writing is too hard not to do exactly what you want to do. It's a very draining and agonizing process for me, and I don't want to live with any piece of work that I don't believe in completely. I have to believe completely in what I'm doing. It has grown organically out of my own experience.
I think that's true of real life - we don't ever know anyone completely. Secrets are very important to creating a narrative work that's believable. The characters come into that world with secrets, as happens to all of us. As honest as we try to be in our relationships, we can never completely know someone. From a narrative perspective it's very important and pleasing - you want to have those secrets there. The secret is an essential part of the creation of the novel.
Okay, I'm going to be completely honest here." I take a deep breath, because what I'm about to say is very real and more honest than I've ever been. "I don't want to be awayfrom you for that long.
Some people say it is hard to live in such a way, being completely one with the present moment. Of course, it is not hard. The opposite is hard. Not being one with life is hard, and that is how most people live.
I think once you do the unexpected, and you take the viewers to a position of discomfort about being able to rely on characters surviving, then it does completely affect the way in which the drama is viewed.
I think there's a fine line between being so obtuse that you lose the reader completely, which is the intention for some writers, though it isn't mine. I work hard at grounding the world as much as possible in the world we do recognize.
Something that can happen when you enter the world of being an actress is that people see you one way and have a really hard time using their imaginations to see you any other way. I would be completely satisfied if I could go the rest of my life without being super-huge and super pigeonholed - I would love to play different characters the rest of my life.
When you completely accept this moment, when you no longer argue with what is, the compulsion to think lessens and is replaced by an alert stillness. You are fully conscious, yet the mind is not labeling this moment in any way... It is a shift from identification with form --the thought or the emotion-- to being and recognizing yourself as that which has no form -- spacious awareness.
"Keep it 100" means keeping it 100 percent real. It comes from the expression ... "keeping it real," which means you are being completely honest and 100 percent real means you are really being honest, which is kind of a contradiction of sorts. You're either being honest or you're not.
The sign for which I forge an image has no value if it doesn't harmonize with other signs, which I must determine in the course of my invention and which are completely peculiar to it.
We're really lucky because we have a portable studio, which enables us to work wherever we like. There is some extra work involved in setting everything up, but you can find a lot of magic and inspiration in being free to go somewhere completely different.
The way a play is seen is completely dependent on the circumstances and the world in which it is received.
I completely take on the risk, the poker game, which being an artist means, and I'm going to try to make a film which honestly reflects what I have in my head.
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