A Quote by Richard Corliss
One of the occupational hazards of reviewing year-end biopics with Oscar ambitions is pointing out discrepancies between the real subjects and their on-screen avatars.
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Every job carries occupational hazards.
The Christian's chief occupational hazards are depression and discouragement.
The year you win an Oscar is the fastest year in a Hollywood actor's life. Twelve months later they ask, 'Who won the Oscar last year?'
It is expected that there will be discrepancies between models and observations. However, why these arise and what one should conclude from them are interesting and more subtle than most people realize. Indeed, such discrepancies are the classic way we learn something new.
As technology improves, on-screen avatars look more and more like real people. When they start looking too real, though, we pull away. These almost-humans aren't quite right; they look creepy, like zombies.
As much as we can, let's defend the truth by pointing to what the apostles taught, and let's call out sin by pointing to the inconsistencies between what we say we believe and what we do.
One of the occupational hazards of being an actor, the reason why so many actors are insecure, is that the only way we know we're good is when other people tell us.
There are several occupational hazards for book reviewers, chief among them being the Curse of the Jaded Palate - that sinking feeling when you start reading a new book and begin to suspect that you've seen it all before.
There is so much more fashion coverage online, so women today are really seeing the collections. They're a lot savvier and more aware of the discrepancies between what they see on the runway and what they end up seeing in their local shops.
The Real is ever-present, like the screen on which the cinematographic pictures move. While the picture appears on it, the screen remains invisible. Stop the picture, and the screen will become clear. All thoughts and events are merely pictures moving on the screen of Pure Consciousness, which alone is real.
Between memory and reality there are awkward discrepancies.
Reviewing has one advantage over suicide: in suicide you take it out on yourself; in reviewing you take it out on other people.
I'm never a fan of the sociopathic kind of reviewing, people who are sort of self-immolating and have social problems or whatever, and let it out in literary-criticism form. I just feel like book reviewing should be respectful and calm and not filled with bile.
There will always be a slight difference between the reel and the real. Even my family might know 99 per cent about me, but there will be this one per cent about me that nobody will ever know. Being in this profession, I am fine with biopics or movies inspired by real-life-characters.
Nobody cares what anyone did last year, whether you were good, whether you were bad, everybody has ambitions and aspirations for this year. But it really doesn't matter until you go out there and prove it and you go out there and do it.
I was able to notice in a very early stage, there were discrepancies between the people who are writing the songs and discrepancies about the self that I was writing about. I was feeling that there were all these different people, both writing the record and having the record being written about them, even though ostensibly it was me sitting down and documenting a series of life experiences. Part of that, when I recognized this unconscious thing I was doing, was about these spaces, about these gaps.
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