A Quote by Robert Graves
I don't really feel my poems are mine at all. I didn't create them out of nothing. I owe them to my relations with other people.
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I do feel like I owe something, but not to the industry. When you say "industry," I think of a group of people who don't really care much about you and treat you as a commodity. So, in that regard, I don't feel like I owe anything. But the people who've always been supportive of me and have always seen me for my greatest potential-those are the people who I feel like I owe something to. I feel like I am their voice. I owe it them to represent them in a way that they can be proud of.
Laughter is something we have against oppression and oppressive people. Dictators hate people who laugh at them. It's easy for them to destroy people who resist them. But if you create jokes against them, write funny poems or articles against them, then they feel helpless and desperate. They can't do anything.
I owe everything I have to them when I'm out there on the mound. But I owe the fans nothing and they owe me nothing when I am not pitching.
I can go out raw with nothing, and my fans would still be happy, but I feel that I owe it to them to give them almost like a Broadway musical at this point in my life. I have to give them something more, so I do have to think of different ways to do it.
I take pop culture really seriously, I think it's really important, and the stuff that I make...I don't want it to be insubstantial, even if it's about something wacky, like sharpening pencils. I feel like I owe it to myself and I owe it to people who are really interested in pencils and I owe it to anybody to do my due diligence and give them something real.
I feel like I've had very few bad experiences but even those I look back on and really feel like if it weren't for them, I wouldn't be where I am. I look back on them all the time and constantly feel like I owe it to the other projects that I've made that have gotten me to where I am.
What I like about prose poems is that they seem to make people uncomfortable - people want to define them, justify them, attack them. Prose poems are natural fence-sitters.
So many people in my life need prayers, and I feel like I owe that to them. After all, in heaven, we feed each other.
I have always had extraordinarily good relations with very conservative colleagues. And that's not because I agree with any of them or fudge on my positions, but people feel I listen to them and give them the benefit of the doubt. I assume the best of people. And that, I think, is an attitude that is maybe rare in politics.
The people that have looked out for me and helped to steer me in the right direction, I just can't thank them enough. So, the drive, a lot of times it just comes down to looking around at the people who love and believe in you and realizing that you owe it to them. Even if I have a bad attitude on a certain occasion, I owe it to all these people around me to just come out and drive, push, and try to make this thing the best that I can
When I have an exhibition, I usually arrange it so that if people want to, they can spend two hours there. That way, people who like it don't feel cheated when they go. I want them to walk into the exhibition space and look low and at other levels and angles. The same with emotions. I want them to be emotionally manipulated, to come out feeling something. I want them to laugh, smile, feel sad. Even if they feel angry, that's okay.
I wanted to create a world that presented the Smurfs with obstacles and challenges and really put them in a fish-out-of-water situation but also make them very active in getting out of their situation. Make them really the central characters.
We have responsibilities for others, not just across space but across time. We have responsibilities to people who came before us. They left us a world of institutions, ideas or possibilities for which we, in turn, owe them something. One of the things we owe them is not to squander them.
There is nothing to be known about anything except an initially large, and forever expandable, web of relations to other things. Everything that can serve as a term of relation can be dissolved into another set of relations, and so on for ever. There are, so to speak, relations all the way down, all the way up, and all the way out in every direction: you never reach something which is not just one more nexus of relations.
Many people came out and said, 'Boy I'd love to make a film that way.' Well, borrow some money, get some people together - you can get people to work for nothing, just treat them right, treat them as human beings, not stars, give them all an equal share, make them feel a part of what they're doing. There's no big secret to it.
The operas that I do are more in the operetta world, but I've gotten to do them in all of these major opera companies so it's been really wild. And I feel comfortable in that world because I went Cincinnati Conservatory and I hung out with all those kinds of people, I love hanging out with them and I understand them and their "diva-osity."
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