A Quote by Richard Wilbur
It is not tricks of sense But the time's fright within me which distracts Least fancies into violence
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There has been in our time a lack of reliance on language and a lack of experimentation which are frightening to anyone who sees them as symptoms. We know the phenomenon of stage-fright: it holds the player shivering, incapable of speech or action. Perhaps there is an audience-fright which the play can feel, which leaves him with these incapacities.
People say to me, you have not got stage fright. And if I haven't got stage fright, then I'm going to be comfortable within myself, and then something - I've always been that way and so I'm fighting to get away from that fear.
The end of violence or the aftermath of violence is bitterness. The aftermath of nonviolence is reconciliation and the creation of a beloved community. A boycott is never an end within itself. It is merely a means to awaken a sense of shame within the oppressor but the end is reconciliation, the end is redemption.
Let me just say you could end this violence within a very short period of time, have a complete ceasefire - which Iran could control, which Russia could control, which Syria could control, and which we and our coalition friends could control - if one man would merely make it known to the world that he doesn't have to be part of the long-term future; he'll help manage Syria out of this mess and then go off into the sunset, as most people do after a period of public life. If he were to do that, then you could stop the violence and quickly move to management.
Violence within the context of policing has a sense of control and power to it, whether it is dominance, getting what you want, or acting out of emotion. At the same time, it is not ultimately satisfying and [you are] trapped in the cycle.
The successful golfers - they're like astronauts or pilots. They have that demeanor that they can focus and stay within that one moment and nothing distracts them. That's not me.
Their violence (the jungle wars of the '70s), and all violence for that matter, reflects the neutral exploration of sensation that is taking place, within sex as elsewhere and the sense that the perversions are valuable precisely because they provide a readily accessible anthology of exploratory techniques.
People ask me if I have stage fright. I say, "God, no, I'm completely comfortable there. I have rest-of-the-day fright."
Democracy is an imperfect way of steering between the violence of anarchy and the violence of tyranny, with the least violence you can get away with.
The reason I've gotten into script-writing, which was accidental to begin with, was that I found it was a far more effective medium for violence. Which is something that I'd always written in songs, but the violence always sat strangely within a song. And I was always interested in the way in which you listen to murder ballads and things like that - these weird lines would kind of come out, like, I drug her by the hair or something - that sat weirdly in the song. Film seems to be a medium designed for betrayal and violence.
Happiness, I think, has to come in the beginning, truly, from feeling a sense of well-being within yourself. To me it's that incredible sense of belonging and peace within your own self and heart that really is joy.
Well, you know, the violence is mostly in Mexico itself, at least the violence that people are worried about. And so we want to make sure that violence does not spill over into our communities that are along the border.
I was working within a figurative representational framework, and there was a sense of reading the painting as a transparency, or truth, or autobiography, which I think is partially the burden of artists of color - or women, or anybody who is representing a so-called minority position. Are you actually telling a true story, or your own story? You don't just get to tell a story. The readings of the work didn't necessarily conform to my own understanding of mythology, where violence and eroticism and the body and all of these different forms coexist all the time.
The first time we meet another person an insidious little voice in our heads says, "I might wear eyeglasses or be chunky around the hips or a girl, but at least I'm not Gay or Black or a Jew." Meaning: I may be me- but at least I have the good sense not to be YOU.
Some people draw a comforting distinction between force and violence. I refuse to cloud the issue by such word-play. The power which establishes a state is violence; the power which maintains it is violence; the power which eventually overthrows it is violence. Call an elephant a rabbit only if it gives you comfort to feel that you are about to be trampled to death by a rabbit.
I've always been terrified of violence which is probably why I keep making violent films - I'm trying to exorcise some demons or something. My mum ended up bringing me up on the edge of a big estate in south London, so I was on the periphery of violence - a lot of football violence and stuff because I was a Millwall supporter. So I've always had a very healthy fear of it, yet at the same time a fascination. I think in all of my films that's a really strong subtext... people who are terrified by violence but are yet compelled by it as well.
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