A Quote by Laura van den Berg
If I leave the fictional world for too long, it's a bit like stepping through a portal, entering another reality, and then not knowing how to get back to where you were before.
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People have been known to joke that my lifelong love of portal fantasies was born, at least in part, from the fact that stepping into my private spaces is a little like stepping through a portal into another world.
Disneyland is like Alice stepping through the Looking Glass; to step through the portals of Disneyland will be like entering another world.
Every bit of our lives revolves around how we get from one place to another and how long it's going to take to get there and what time of day you have to leave to do it.
When we were growing up and saw a Ray Harryhausen movie, we were interested in how it was done. But thank God we got to go through the magic of seeing it before we knew how it was done. You were able to get this beautiful, pure, visceral response to something without knowing too much about it.
A "portal" is an opening (door, window, or opening). A heavenly portal or a glory portal is a heavenly opening through which God's goodness manifests. I have seen a portal in a vision and it was a circular opening where a column of light poured down into the earth. There were angels ascending and descending.
I would still describe myself as a hacker. I still remember feeling the magic, the sense of discovery, when I first connected to a bulletin board. It seemed like the world was somehow brighter, the greens were greener. Like I'd stepped through a portal to the other side. I knew back then that things would never be the same again for me.
I feel I'm able to get rid of any demons lurking in my psyche through my writing, which leaves me free to create all of this and to enjoy our family life, stepping away from all the fictional traumas and the dramas. If I write about family in crisis, then I won't have to live through it, I guess.
Therefore, no matter how the world makes out in the next few centuries, a large class of readers at least will not be too surprised at anything. They will have been through it all before in fictional form, and will not be too paralyzed with astonishment to try to cope with contingencies as they arise.
This is an important distinction, because most of the modern philosophies that deny that we can know reality, and ultimately truth, make the mistake of constructing epistemological systems to explain how we know reality without first acknowledging the fact that we do know reality. After they begin within the mind and find they can't construct a bridge to reality, they then declare that we can't know reality. It is like drawing a faulty road map before looking at the roads, then declaring that we can't know how to get from Chicago to New York!
I actually dislike, more than many people, working through literary allusion. I just feel that there's something a bit snobbish or elitist about that. I don't like it as a reader, when I'm reading something. It's not just the elitism of it; it jolts me out of the mode in which I'm reading. I've immersed myself in the world and then when the light goes on I'm supposed to be making some kind of literary comparison to another text. I find I'm pulled out of my kind of fictional world, I'm asked to use my brain in a different kind of way. I don't like that.
A while back there was this fad where a big star [would get] a producing credit and you'd ask around, and people were like, "No, they didn't produce, they just took the credit." I was flabbergasted. So when I started, people were weirded out by the fact that I was like, "How long is our prep? I'll come a week before that." They were like, "We're not shooting for six weeks."
I just like to have cereal in the morning, but it'll be those cluster things - it's a bit random - and through the day, I like just pasta, plain pasta with a bit of sauce on it, never too much in case I get a bad belly... and jelly just before I go on for a bit of energy!
I call it "being interrupted by success." We had done The Soft Bulletin, which came out in 1999, and we knew we that were gonna make another record before too long. But in between this, we were still in this mode of kind of just - not re-creating what we could be, but kind of doing different things. For the longest time in the Flaming Lips we were like, "Make a record, go on tour. Come back, make another record," and you know, I think, frankly, we were kind of like, "There's more to life than just recording records and going on tour."
I get into lab early and leave a bit early, too. So I like to have an hour or two before everybody comes in.
I think we create our world through stories. We use storytelling to escape or protect ourselves from the unimaginable and the horrible - from the real, in a way. It's like white light - if you put everyday reality through a prism you get this rainbow of colors that you couldn't see before. I'm interested in exploring the world to show the things that are invisible. And not just undocumented aspects of reality, but to actually make manifest things that have been hitherto invisible through the intervention of filmmaking.
Imagining the world without us is a recipe for despair and paralysis. I actually think it's more helpful to imagine the world before us, to look back at those unstable ecosystems of the Triassic and realize that were in another phase of unstable ecosystems. Knowing that, demystifying our situation as it were, makes it easier to think about solutions. We are not looking into the unknown. The only thing unknown about the situation is how we're going to fix it, and when.
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