A Quote by Robert Redford
For me, the Sundance Institute is just an extension of something I believed in, which is creating a mechanism for new voices to have a place to develop and be heard.
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Sundance was started as a mechanism for the discovery of new voices and new talent.
For its part, Government will listen. We will strive to listen in new ways - to the voices of quiet anguish, to voices that speak without words, the voices of the heart, to the injured voices, and the anxious voices, and the voices that have despaired of being heard.
[Sundance] still feels like an incredible place for championing emerging voices and art.
When I heard Billie Holiday's voice, Nina Simone's and Ella Fitzgerald's - there was something about their voices to me that was such a different texture than what I was used to listening to at the time. Hearing those jazz voices were so different, and I think I just gravitated toward it.
I started to hallucinate and hear voices as clear as crystal. I heard my family in a casual familial conversation I heard Koran readings in a heavenly voice. I heard music from my country. Later on the guards used these hallucinations and started talking with funny voices through the plumbing, encouraging me to hurt the guard and plot an escape.
Female directors, directors of color are a big thing for me, which are both important voices and potent voices that need to be heard. That's how I want to engage myself as an actor going forward.
It was when I was the age where you can, as they say, "hear voices" without worrying that something is wrong with you. I "heard voices" all the time as a small child.
The Sundance Institute has been vital to the film communities of Latin America.
The Babson Institute, which is now an actual university, was started by this guy [my father] who also had a problem with believing in gravity. And so he started the Babson Institute in New Boston, New Hampshire, which then moved to Gloucester. Each year they have a competition of one thousand dollars for one thousand words of an essay on gravity. That's the way they do it.
The individuals inside are frequently fighting that their individual voices be heard, while the walls of the place, which are the mask, and the perception, are reluctant to give over to the voices of the individuals. Those in the margins are always trying to get to the center, and those at the center, frequently in the name of tradition, are trying to keep the margins at a distance. Part of the identity of a place is the tension between those in the margins, and those in the center, and they all live behind the walls which wear the tradition.
The Freedom Caucus, like many of the members, feel like that we have too much of a top-heavy, power-based type of leadership program where the decisions are made exclusively at the top and that members voices are not heard, which means that our constituents' voices are not heard: those that we represent.
We need to think about what cooking is, what context it takes place in and what its relationship to the world of art is. If there were criticisms of my presence at Documenta, that's a good thing because it means we were doing something new. Your mission in creating something artistic is to produce something new and polemical.
Worry was my mother's mechanic, her mechanism for engaging with the machinery of living. Worry was an anchor for her, a hook, something to clutch on to in the world. Worry was a box to live inside of, worry a mechanism for evading the present, for re-creating the past, for dealing with the future.
I'll just say it: I love Sundance; my very first film won Sundance.
New technologies can be used for destructive purposes. The answer is to develop rapid-response systems for new dangers like a bioterrorist creating a new biological virus.
I love creating new things. It's difficult to be creative once a restaurant's open. People want the same dishes. For me, the creativity is in opening a new place and starting a new menu.
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