A Quote by Mira Grant

We were the ones on scene when everything went down. We weren't better. We weren't worse. We were just the ones standing in the blast radius. — © Mira Grant
We were the ones on scene when everything went down. We weren't better. We weren't worse. We were just the ones standing in the blast radius.
Traditions are imploding and exploding everywhere - everything is coming together, for better or worse, and we can no longer pretend were all living in different worlds because were on different continents.
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.
Of course, the '60s was a study in decadence. Everything just got worse and worse, and at the end of the '60s, everything was so horrible that people were killing each other.
We were terribly excited, and I think we took it on our shoulders that we were creating the 21st century in 1971. That was the idea. And we wanted to just blast everything in the past, rather like the vorticists did at the beginning of the century in the Britain or the dadaists did Europe, you know. It was the same sensibility of everything is rubbish, and all rubbish is wonderful.
For a long time we have thought we were better than the living world, and now some of us tend to think we are worse, that everything we touch turns to soot. But neither perspective is healthy. We have to remember how it feels to have equal standing in the world, to be "between the mountain and the ant . . . part and parcel of creations," as the Iroquois traditionalist Oren Lyons says.
The Enlightenment faith that things are getting a little bit better each decade becomes difficult to support. People recognized that there had just been a war that was worse than the war of 1812, and worse than the Revolution; things were clearly not getting better and better.
So many things will happen, for better or worse, in your career, and it's very easy for those things to bog you down or consume you. But when you get a chance to look back, you realize that those were not the things that were really important.
Childhood is not dead. Children were worse off when we were hunter-gatherers; they were threatened in medieval times and exploited during the Industrial Revolution. Was it any better in the time of Charles Kingsley or Charles Dickens?
There is so much good music from our scene in the U.K., and I'm happy I'm part of that movement. For a long time, we were trying to do what the Americans were doing, we were trying to do what the pop stars from England were doing, and we just didn't understand.
The Ramones were a great bunch of guys. They were very quiet, very shy. They were a little in awe of the filmmaking process, probably because we started at 7 a.m. I do remember the very first day of shooting, I met them and did the scene in the bedroom where Joey sings to me, and they were all scattered around my bedroom in my little fantasy scene. That was the first scene we shot of the movie. That scene is kind of a strange way to start a movie. "Okay, get undressed, and these weird guys in leather jackets and ripped jeans are going to sing to you."
Even colors were important to me. If it was a somber scene, the colors were muted and dark. If it was a happy or seductive scene, the colors were brighter.
You were everything, everything that I wanted. We were meant to be, supposed to be, but we lost it. And all of the memories, so close to me, just fade away. All this time you were pretending. So much for my happy ending.
I had invited 50 or 60 peers and friends, most of whom were parents, to see the film [Trust], and I asked about the last scene. It was interesting because it was split right down the middle, 50/50. About half the audience wanted it to end with the very emotional scene between Clive and Liana, and that feeling of realization and catharsis. And, the other half were adamant about keeping that last scene.
Even when we were standing in church and I was getting ready to take my vow I can remember wishing that you were standing there instead of him.
The scene at a certain time was definitely boys; those huge warehouses were kind of violent parties, even. I think people in your immediate community made a nightlife scene that actually did break down gender roles and were along different lines of identity that had to do with race and experience in the '90s, rather than gender.
When you shoot a scene, you remember every moment. You remember when your head went down, your head went up. You don't see little quirks, little eye movements, little lip movements. Once again, you become completely vain when you're watching it in a way that you weren't when you were shooting it. And the vanity, what it makes you focus on are everything that has nothing to do with the scene and everything to do with your own ego.
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