A Quote by Neil Postman
You cannot avoid making judgements but you can become more conscious of the way in which you make them. This is critically important because once we judge someone or something we tend to stop thinking about them or it.
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I have learned never to judge any of the characters that I portay. Sometimes that is difficult to do because as a human being we tend to make judgements when we find out information about people and situations. In order to bring a character to life, though, I find that I cannot judge her or I won't be true to her.
We make the commitment to stop for a moment and look at what the mind is doing, what mind state we are dwelling in. We don't judge it, we just know it. Gradually we'll become more and more accustomed to being conscious of what we're thinking and our various positive and negative states. We'll become more and more the masters of our mind, rather than the slaves.
When I'm in the process of making a movie I'm not thinking about the finished result, and whether people have to see it once or more than once, and what the reaction to it will be. I just make it, and then I live with the consequences, some of which may not be as pleasant as I'd like! I know one thing, however. Many viewers may come out of the theater not satisfied, but they won't be able to forget the movie. I know they'll be talking about it during their next dinner. I want them to be a little restless about my movies, and keep trying to find something in them.
Making fiction for children, making books for children, isn't something you do for money. It's something you do because what children read and learn and see and take in changes them and forms them, and they make the future. They make the world we're going to wind up in, the world that will be here when we're gone. Which sounds preachy (and is more than you need for a quotebyte) but it's true. I want to tell kids important things, and I want them to love stories and love reading and love finding things out. I want them to be brave and wise. So I write for them.
I generally play villains once every three or four years by choice because I get offered villainous roles a lot, because of the way I look and whatever. And I tend to avoid them because I think you can end up in a cul-de-sac of your own making if you're cast in that.
There exists an obvious fact that seems utterly moral: namely, that a man is always prey to his truths. Once he has admitted them, he cannot free himself from them. One has to pay something. A man who has become conscious of the absurd is forever bound to it.
Nothing is more debilitating than to care about something you can't do anything about. And you can't do anything about your adult children. You can want better for them, and maybe even begin to provide something for them, but in the long run, you cannot do anything about someone else's vibration other than hold them in the best light you can, mentally, and then project that to them. And sometimes, distance makes that much more possible than being up close to them.
There are three huge, titanic, space movies which if you ever make a film [about space] you cannot avoid. You may want to avoid them but you cannot. I've never known a genre like it where you are dictated to by these films, 2001, Alien, and Tarkovsky's Solaris.
Once I get on something, once I have something that I'm working on, then I become very obsessive. In a good way. I mean,... is there a positive way to say obsessive? It's a good thing and if you're out there and you're working on something right now and you're crazed and you're up in the middle of the night, or you can't stop thinking about it, or you have to keep reading other things about the subject that you're working on or whatever. That's good and I think that's necessary creatively.
As soon as you stop thinking about them, they'll send you a text message or call you. Because they know you stopped thinking about them. It's like a radar.
I myself have perceived women's actions as more aggressive than I would have in men because I too am walking around with my own biases. The way to fight them is to become conscious of them.
Be sure to ‘notice’ ideas when you have them. Stop. Take the time to consider them seriously. And if your gut tells you they're compelling, be fearless in their pursuit . we live life only once. So, rather than avoiding the risk of trying, avoid the risk of not trying. Nothing is more haunting than thinking, ‘I wish I had’.
Don't ever let the other stuff get in the way of your inherent skills as a kick-butt storyteller. Move the reader, make them happy and sad and excited and scared. Make them stare into space after they've put the book down, thinking about the tale that's become a part of them.
I tend to find you have to be fairly vulnerable to get something... to get a perspective worth having. Which can be controversial. But I find telling someone what you're thinking about, what you want, and what you're afraid of can often help them give guidance.
If you really stop resisting someone or stop judging them or stop being afraid of them or stop imagining they're going to do something negative they haven't done yet, it changes the energetic field, it changes the relationship, and that person - not always, but often - will shift their behavior because of what you've done.
The more experiences and experiments accumulate in the exploration of nature, the more precarious the theories become. But it is not always good to discard them immediately on this account. For every hypothesis which once was sound was useful for thinking of previous phenomena in the proper interrelations and for keeping them in context. We ought to set down contradictory experiences separately, until enough have accumulated to make building a new structure worthwhile.
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