A Quote by Lorrie Moore
We were in dialogue that was about something other than what we were saying.
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I was a young feminist in the '70s. Feminism saved my life. It gave me a life. But I saw how so much of what people were saying was not matching up with what they were doing. For example, we were talking about sister solidarity, and women were putting each other down. We were talking about standing up for our rights, and women weren't leaving abusive relationships with men. There were just so many disconnects.
There's something final about saying you were married once. It's like saying you were dead once. It shuts them up.
I was always cutting dialogue out when we were rehearsing, and when I produced movies, too. I felt that people don't say things in life - they act, they do things. I always wanted my characters doing, rather than saying what they were doing - which was redundant.
I was less angry at [Carl] Armstrong, though I was angry at the people who came to his trial: Dan Ellsberg, who ordinarily I respected a lot; Philip Berrigan; the guy who teaches at Princeton still - I can't remember his name. And they were saying - well, they were saying, really, what Arthur Koestler had people saying on "Darkness at Noon." The means were unfortunate and, sadly, someone died, but the end is what is important and this was a great symbolic - something or other - sign against the war in Vietnam.
I hate the word surrogate, because what does that mean? Like when people talk about I`m my father's confident, at one point, they were actually saying major newspapers were publicly were writing that I was Vice Presidential candidate. I`m saying no. I`m a daughter.
There was violence because first of all, there were ethnic differences and names. If you were small, they called you a runt, and you had to do something about that even if there were five other guys.
There was a reason these boys were still alive, though. Something made them stronger than the other kids, the ones who had died in the early days, who had simply lain down and given up, unable to cope with the terrible things that were happening in the world. These boys were survivors. The will to live was stronger than any other feelings.
I landed a job with Roger Corman. The job was to write the English dialogue for a Russian science fiction picture. I didn't speak any Russian. He didn't care whether I could understand what they were saying; he wanted me to make up dialogue.
Nursery rhymes were political when they were first written! To me, that's what it's about: it's about using it to say something more than just what the story is.
You want to have the experience. As far as the creative side, the more I do this, the more I know that it's all about the writing. You got on a film sometimes and it's sort of half-written, and they expect and think that the actor's job is to bring the extra part and the good part. It's not. We're good at saying what other people have written, but for the majority of it, that's about it, comedians aside. It's all in the writing. Whether that's dialogue or character, or whatever, it doesn't matter. As long as they've done something special, than you can do something special.
The secrets that the characters hold are held back from the audience, and that's such a delight to hold onto. When you're playing scenes, it gives you an inner dialogue that allows you to really immerse yourself as the actor, in every scene that you're playing. Nothing felt expositional. Nothing felt like we were just doing it to move the story along. There was a reason these characters were saying what they're saying. It was a gift, really.
Similarly, the press never tested many of the assumptions about WMDs. One of the great myths about the WMD issue is that everybody believed Iraq had them. Well, that's not true. There were a number of people in the intelligence community and the State Department who were skeptical, and many analysts in the Department of Energy were dubious about Iraq's nuclear capability. There were also people like Scott Ritter who were saying quite accurately what was going on.
I saw something in a program on something in Miami, and they were saying, "We've redecorated this building to how it looked over 50 years ago!" And people were going, "No, surely not, no. No one was alive then."
What does it mean to know and experience my own “nothingness?” It is not enough to turn away in disgust from my illusions and faults and mistakes, to separate myself from them as if they were not, and as if I were someone other than myself. This kind of self-annihilati on is only a worse illusion, it is a pretended humility which, by saying “I am nothing” I mean in effect “I wish I were not what I am.
There were Arcadians here, Katagaria, Dark-Hunters, demons, humans, and who knew what else. By rights none of them should get along and yet they were together tonight. Bound by something other than blood. They were bound together by their hearts.’ (Gallagher)
I'm saying that there were many great naturalists before Darwin's time who were very pious people and who knew more about nature than most of us. These were great naturalists; people I would admire for their knowledge of natural science given the time.
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