A Quote by Ray Fisher
It's nice to go back and look at the original version of Cyborg in the 1980s, when he was created, and seeing how politically and socially charged they were: it was no holds barred. If DC ever made a return to that social awareness and that sort of context, I'd be super-thrilled to see that.
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Those early Cyborg comics were very politically charged, and he was very aware of being a black superhero.
It wasn't until I booked the role of Cyborg that I was sent literally everything Cyborg-related from DC comics.
I mean, in many ways, you know, I felt very connected to Ian (Dury) on, on a lot of levels. I mean, politically, & sort of, socially, our, kind of, social backgrounds are quite similar in many ways, as well as our kind of artistic endeavors. So there were many, many things that sort of chimed in for me, and kind of made me feel very instinctive about playing him, and, and although, there was sort of a certain amount of impression involved, actually, there's a lot of myself in the role.
I've had lots of fans who come out and say, 'Listen, I can relate to Cyborg because I lost a limb,' or 'I have this cochlear implant.' It's one of those things when you actually start seeing it, when you actually start hearing about it, that made Cyborg more relevant to me than I think he ever had been up until that point.
Opera is something you have to educate yourself about. You have to make sure you understand the stories, what was happening politically, socially during the time these things were made and how they've changed through history.
There were some types of sanctions that happen in the public world that made my work acceptable, where someone looks at the paintings and they don't - they may go, "okay," and then look at it in a different sort of way. Instead of just looking at it as some type of wild art, they look at it in a historical perspective or context.
You simply have to eventually fall under suspicion from somebody even by a wrong call. And then they can use this system to go back in time and scrutinize every decision you've ever made, every friend you've ever discussed something with. And attack you on that basis to sort to derive suspicion from an innocent life and paint anyone in the context of a wrongdoer.
There are people who are socially ambitious. If you go back aways, the Sculls, for instance, had a lot of money and they were socially ambitious. If you get an old master, it's not going to do you any good socially.
Some rules are good. For example, off the top of my head, let's say a stand-up comedian or a talk show host wearing a nice suit - as a ponderer, I grew up like, "Why don't they just go up there in their army jacket? They're fine!" Then little by little, you think, "You know, it's kind of nice to look nice, like you made the effort." Then you're back at rule one; that was the original rule.
What social safety net does is provide a glimmer of hope for what a democratic socialist society might look like. It makes the claim that without social provisions, without a welfare state, without a social contract, society can't survive. We need a foundation for people - economically, politically, and socially - where what the Right considers "entitlements" are really rights.
I always look back at when I didn't have a dream, when I didn't have a spirit. I didn't know what the Olympics was all about. I was just hanging out on the street. I was not humble. I was not a nice person, doing things that were socially unacceptable.
It's funny: when you make a film, you always look back, and there are always crucial decisions that get made. You look back, and at the time they don't seem like it, but you look back, and you see they were absolutely fundamental.
We always look back at our back catalogue for inspiration for new titles, but when it comes to very old things like the 'King's Field' series, I'm concerned about just mimicking the style of what Naotoshi Zin, the founder of FromSoftware, created for the PlayStation original. I would rather not go back to it simply out of respect.
It's not the 'nice' guy who brings about real social change. 'Nice' guys look nice because they're conforming. It's the 'bad' guys, who only look nice a hundred years later, that are the real Dynamic force in social evolution.
One time we stayed at a B&B, and there were a couple of hippies who had this nice little area and they let us sleep in their beds that they had in the back.Then the woman suggested we go out and lie on some cushions and look up at the stars and look for UFOs and she said, "You know, I do this all the time," and I was like, "Okay..." So there we are, lying there next to this amazing loch, and we're looking up in the stars and I don't really know what I was expecting, but to see some sort of metallic object.
Awareness cannot be taught, and when it is present it has no context. All contexts are created by thought and are therefore corruptible by thought. Awareness simply throws light on what is, without any separation whatsoever.
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