A Quote by Palmer Luckey
If I grew up in 'da hood,' it would make my story so much more interesting - if I had something to escape from. I had a pretty good life. My parents weren't rich; they weren't poor. I wasn't trying to escape from anything. It was always just the pursuit of something cooler.
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I have just discovered something I have always known: we can no more escape from one another than we can escape from God.
I had no interests. I had no interest in anything. I had no idea how I was going to escape. At least the others had some taste for life. They seemed to understand something that I didn’t understand. Maybe I was lacking. It was possible. I often felt inferior. I just wanted to get away from them. But there was no place to go. Suicide? Jesus Christ, just more work. I felt like sleeping for five years but they wouldn’t let me.
I was trying to find a reason for having had to escape from the place that was my home. To convince myself of my choices, I had to make it a place that everyone should want to escape from.
The past is our definition. We may strive with good reason to escape it, or to escape what is bad in it. But we will escape it only by adding something better to it.
I gave up writing children's books. I wanted to escape from them as I had once wanted to escape from 'Punch': as I have always wanted to escape. In vain.
Eventually, while researching, you'll learn something you didn't want to know. Some fact that ruins a plotline you had in mind. The good news is that sometimes, learning all the facts can make for a much more interesting story than you originally had in mind.
Faced with today's problems and disappointments , many people will try to escape from their responsibility. Escape in selfishness, escape in sexual pleasure, escape in drugs, escape in violence, escape in indifference and cynical attitudes. I propose to you the option of love, which is the opposite of escape.
Fantasy isn't just a jolly escape: It's an escape, but into something far more extreme than reality, or normality. It's where things are more beautiful and more wondrous and more terrifying. You move into a world of conflicting extremes.
It's a fine line of doing what's good for your life and what your parents want you to do, but also following your dreams. With my parents, when I was younger, I always had to do two things. If I was acting, I always had to do a sport or something on the arts side of things, along with that. That way, if one fell apart, I always had something else to fall back on.
I had been to São Paulo the year before and became pretty well acquainted with the music of composer Antonio Carlos Jobim, I had already started playing that music, and the audience response had been pretty good because those songs are so melodic. I knew it would be something that would be appealing; I wasn't thinking that it would make the top of the pop charts or anything like that.
I grew up on the west side of Detroit - 6 mile and Wyoming - so I was really in the 'hood. And I would go to school at Detroit Waldorf, and that was not the 'hood. Growing up in Detroit was good. I had a good perspective, a well-rounded one, and not being one-sided.
I'm really very glad that I had skating to be my love and my escape. I think that it always gave me something that made me feel good, and it was music, and it was peaceful, and not a lot of the other stresses of life.
But something magical happened to me when I went to Reardan. Overnight I became a good player. I suppose it had something to do with confidence. I mean, I'd always been the lowest Indian on the reservation totem pole - I wasn't expected to be good so I wasn't. But in Reardan, my coach and the other players wanted me to be good. They needed me to be good. They expected me to be good. And so I became good. I wanted to live up to the expectations. I guess that's what it comes down to. The power of expectations. And as they expected more of me, I expected more of myself, and it just grew and grew.
I'm not able to completely escape naturalism. It's very difficult to escape from naturalism without being too dry. That's what I try to do in my cinema - escape naturalism and do films that are, at the same time, realistic but have a lot of fantasy. It's very difficult in cinema to get away from what life is about, from real life. The way the actors work has to be realistic - you can't do Baroque acting - so it's very complicated. And, we're human beings, so we're not perfect. I'm trying to do something different.
It is easy to say that there are the rich and the poor, and so something should be done. But in history, there are always the rich and the poor. If the poor were not as poor, we would still call them the poor. I mean, whoever has less can be called the poor. You will always have the 10% that have less and the 10% that have the most.
For me, stripping was an unusual kind of escape. I had nothing to escape but privilege, but I claimed asylum anyway. At twenty-four, it was my last chance to reject something and become nothing. I wanted to terrify myself. Mission accomplished.
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