A Quote by Laura Innes
It was sort of that in-between area when people don't talk about their personal lives. That's the kind of life I think Kerry would be living now if it weren't for the Lopez character sort of outing her.
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People probably long for something genuinely personal in a society where the personal is often indistinguishable from the "personalized." Maybe the poetry audience member is searching for his or her own "personal space" and they expect the poet to be a sort of avatar of the private life. But that sort of representation is distasteful to me. Asking a poet to represent the personal life is, paradoxically, to turn the poet into something other than a person.
She's always polite and kind, but her words lack the kind of curiosity and excitement you'd normally expect. Her true feelings- assuming such things exist- remain hidden away. Except for when a practical sort of decision has to be made, she never gives her personal opinion about anything. She seldom talks about herself, instead letting others talk, nodding warmly as she listens. But most people start to feel vaguely uneasy when talking with her, as if they suspect they're wasting her time, trampling on her private, graceful, dignified world. And that impression is, for the most part, correct.
I mean, her father was an alcoholic, and her mother was the suffering wife of a man who she could never predict what he would do, where he would be, who he would be. And it's sort of interesting because Eleanor Roosevelt never writes about her mother's agony. She only writes about her father's agony. But her whole life is dedicated to making it better for people in the kind of need and pain and anguish that her mother was in.
I read a ton of nonfiction. I tend to read about a lot of very extreme situations, life-or-death situations. I'm very interested in books about Arctic exploration or about doomed Apollo missions. I tend to read a lot of nonfiction that's sort of hyperbolic and visceral. And then I kind of draw on my own personal experiences and my own sort of generic life experience, and I kind of try to feed my day-to-day reality that I have with sort of high stakes reference points that I read about. They're things everyone can relate to.
There are two kind of men,' said Ka, in a didatic voice. 'The first kind does not fall in love until he's seen how the girls eats a sandwich, how she combs her hair, what sort of nonsense she cares about, why she's angry at her father, and what sort of stories people tell about her. The second type of man -- and I am in this category -- can fall in love with a woman only if he knows next to nothing about her.
You either hear the story and you're curious, and you're sort of sympathetic, or you think, "Ugh, how horrible." That's dehumanizing. How about we take that and turn Christine Chubbuck into a person and it's not about the final act, it's about her life. I felt that really strongly, and I felt a sort of deep sympathy with her. It's also why I do what I do. I want to try to make difficult people somehow relatable.
If the movie is terrible you can have fun. You can joke about it and have a ball. The movie is already sort of established as a kind of extraordinary piece of work even though it hasn't opened yet to the public. It is harder because you can't go against it and you can't be interesting. You have to go with the flow. Although one is very happy to be in it, it is sort of hard to talk about it. It is hard to talk about successful. It is much easier to talk about failure.
In India and elsewhere in the world, the moment a woman speaks out against harassment, people sort of start making all sorts of character judgments about her, about her morality, about what she was wearing, and all such things, and I think that is not fair.
I would say probably Paris [Hilton]. Because to me that's her in character and she kind was always sort of winking at the camera. There was satire I think involved in what she was doing. I like to think there was.
Sometimes you'll see people give performances in comedy with an ironic detachment where they'll sort of be remarking on the character from outside of it. They're sort of commenting as they're playing the character. I think it's hard not to do that. I've certainly done that.
I'm always sort of looking for projects that I can sort of put out into the world, into the public sphere, and to somehow cause an effect. I want to be able to create projects that sort of are going to make people think and think in this sort of magical, sort of fantastical way.
The song is based on a lot of observation and a lot of speculation. But in sort of a pointed way its kind of about Madonna...I think it was a particular time where I was being bombarded with her image on TV and in magazines and her whole schtick kind of speaks to me in that way...like she's going through some sort of problem. It seems she's getting a bit desperate.
I think the durability of the sedan as well as its worldwide appeal argues well for it as a concept that resonates with people's ideas about how their lives are oriented. They understand the difference between an area for powertrain, an area for people, and an area for their stuff.
My Auntie CeCe - I can kind of joke and say all I need to do is pray. But that's literally what she does... She lives what she sings. I've learned a lot about her in that way, so in bringing her to the stage, I knew what sort of demeanor she needed to have. Her songs are very reflective of who she is in real life.
In our culture, we get very much into shorthanding people. And I got shorthanded as That Guy: Jennifer Lopez, movies bombed, therefore he must be a sort of thoughtless dilettante, solipsistic consumer blahblahblah. It's hard to shake those sort of narratives.
I didn't grow up as a religious person under any sort of system or anything like that, I just felt like I've always been sort of intrigued by that - how it can make people's lives better - I mean, it's a powerful thing. So I was interested in thinking about that kind of stuff.
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