A Quote by Lana Wachowski

With Bound, we wanted to pull at conventions, because you begin to wonder, Why do these stereotypes exist? Where do they come from? You use that as the subtext. — © Lana Wachowski
With Bound, we wanted to pull at conventions, because you begin to wonder, Why do these stereotypes exist? Where do they come from? You use that as the subtext.
All stereotypes turn out to be true. This is a horrifying thing about life. All those things you fought against as a youth: you begin to realize they're stereotypes because they're true.
Stereotypes exist because there's always some truth to stereotypes. Not always, but often.
Once women begin to question the inevitability of their subordination and to reject the conventions formerly associated with it, they can no longer retreat to the safety of those conventions.
Well, what I don't get is why do we exist? I don't mean how, but why.' I watched the fireflies of his thoughts orbit his head. He said, 'we exist because we exist. . .we could imagine all sorts of universes like this one, but this is the one that happened.
Why do fairy tales exist, and why do movies exist? Why do novels exist? There has to be a reason for it; otherwise, none of these things would be there.
I'm a big believer in doing things that make you uncomfortable. So, we live in a world where we want to be as comfortable as we can. And we wonder why we have no growth. We wonder why - when the smallest thing in our life gets difficult - we wonder why we cower and we run away.
Free institutions certainly exist, but a tradition of passivity and conformism restricts their use - a cynic might say that this is why they continue to exist.
Why is the world round? Why do the suckas bite? Why do the freaks come out at night? Why they paint Jesus white? I sit and wonder why we breakin hip-hop laws, Doing videos in houses that we know ain't yours.
I think the benefit of being a writer is that I'm looking for the subtext on the page, because all good writing has subtext. And as a writer, you look at the big scope of things, the big story, rather than just your individual story line, because I think it's important to know what you're in and how you fit into it.
When I can't see myself in the mirror, I can't even feel myself, and I begin to wonder if I exist at all.
The basics teachings of Buddha are about understanding what we are, who we are, why we are. When we begin to realize what we are, who we are, why we are, then we begin to realize what we are not, who we are not, why we are not. We begin to realize that we don't have basic, substantial, solid, fundamental ground that we can exert anymore. We begin to realize that our ideas of security and our concept of freedom have been purely phantom experiences.
Shakespeare doesn't really write subtext, you play the subtext.
I didn't want to spend the next thirty years writing about bad things happening in the same small town - not least of all because people would begin to wonder why anyone still lives there!
If you know why someone is doing what they're doing, why they're behaving the way they are, then that's your job to reveal that, and often that's situational. The storytelling does that, and then some of it's your job as an actor to make that subtext come to life.
Something I say a lot when it comes to anti-feminist stereotypes is that they exist for a reason. The stereotypes of feminists as ugly, or man-haters, or hairy, or whatever it is - that's really strategic. That's a really smart way to keep young women away from feminism, is to kind of put out this idea that all feminists hate men, or all feminists are ugly; and that they really come from a place of fear. If feminism wasn't powerful, if feminism wasn't influential, people wouldn't spend so much time putting it down.
The essence of Christianity is told us in the Garden of Eden history. The fruit that was forbidden was on the tree of knowledge. The subtext is, All the suffering you have is because you wanted to find out what was going on.
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