A Quote by Sheila Heti
When I was younger, I think that I felt like I could only live one way, and I had to figure out which of those one ways it was going to be. I have no anxiety about making the wrong decision.
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I just started trying to figure out how to write [something] which was unlike anything anybody had ever seen, and once I felt like I had figured that out I tried to figure out what kind of book I could write that would be unlike anything anybody had ever seen. When I started writing A Million Little Pieces I felt like it was the right story with the style I had been looking for, and I just kept going.
I definitely think the price of food is going up. We need to figure out ways to manage that in a sustainable way. We have to figure out ways of increasing wages so people can afford it. That means redistribution, and rich people don't like to hear that. This administration simply won't hear of it. But without it, I fear even more Americans will be going hungry in the future.
It's the way I feel about acting. That we are given clues by a writer about someone's essence or persona and it's our job to try to figure out which of those clues are true, which of clues we decide to follow and which of those clues we think are red herrings, or only in the way another character thinks of that character.
The biggest fear that everybody has is dying. Not to get too meta on you, but I think every fear that people are trying to work out is really like I'm going to die and no one is going to care, and it doesn't matter because God might not exist. That's what people are trying to figure out. I wish we all had one fear so we could think about it together and figure out a solution, but we're all doing different things.
The only way to make the right decision is to find out which is the wrong decision, to examine that other path without fear, and only then decide.
I very easily decide in certain situations that I'm an outsider. That's just my own craziness. I think that I have sympathy for those characters who are like that, but I love it when the humor comes from a character who is serious about his situation - only the way he's thinking about it is all wrong, or the ways he's solving his problems are never going to work.
In their zeal for particular kinds of decisions to be made, those with the vision of the anointed seldom consider the nature of the: process: by which decisions are made. Often what they propose amounts to third-party decision making by people who pay no cost for being wrong-surely one of the least promising ways of reaching decisions satisfactory to those who must live with the consequences.
I feel like I'm changing as a human being, and I think that the work needed to be in line with where I'm at. When I was younger and I was making political work, I was trying to figure out where my work fit in because when you're young you're like, "I don't know." I'm Latino, I grew up in Mexico, and so I thought that maybe I had to talk about those things. Then finally I didn't need my identity to rely on anymore. So now the work is becoming about more esoteric things, I guess - my own sort of language.
I definitely had those moments, like any actor, when you get anxious and think, 'When am I going to work again?' But I would feel that way even when I had every offer in the world coming to me. Then I became a father and I felt a little more of the anxiety that came with the responsibility of being a parent.
The Greek tragedies and comedies are like a roadmap to all the ways in which trying to live this rich, full life can go wrong. You could get into a war. You could find that you have members of your family on the wrong side of a political crisis. You could be raped. You could find that your child has gone crazy because of some horrible experience she's had.
But I love the idea - whether it's in my work or where I live - exploring new frontier, and I like putting myself in strange places and trying to survive and figure things out and gather up an infrastructure. I like knowing that I could figure out a way to live anywhere.
I think I get way too much credit for making what people consider to be smart choices, but it's only because I made a decision to stop worrying about making money. I had done network sitcoms. I had a nest egg.
My life used to be like that game of freeze tag we played as kids. Once tagged, you had to freeze in the position you were in. Whenever something happened, I'd freeze like a statue, too afraid of moving the wrong way, of making the wrong decision. The problem is, if you stand still too long, that's your decision.
I felt that everyone had the same sentiments when it came to love that I did. I felt like if you really cared for somebody, then that was it. It never occurred to me that people could lie about the way they felt about you. I had to learn that the hard way.
Although I could never get used to the constant state of anxiety in which the guilty, the great, and the tenderhearted live, I felt I was doing my best in the way of mimicry.
I used to always say - and I think a lot of artists think of it this way - that when you see a black figure, the way the critical establishment operated, you can only imagine that figure having a sociological value. They never say the ways in which their aesthetics were equally worthy of consideration.
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