A Quote by Sofia Coppola
There's something about being a teenager that's so sincere. Everything is more epic, like your first crush. I feel that it's not always portrayed very accurately.
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When you're a teenager, everything is amplified because everything is a first. The first time you feel othered, the first time you feel rejected, the first time you fall in love... it's the first time, so it's so vivid, and everything feels like the whole world almost, because it is your whole world; your world is small when you're a teenager.
Listen to us rather than to Arkady Mamontov talking about us. Don't twist and distort everything we say. Let us enter into dialogue and contact with the country, which is ours too, not just Putin's and the Patriarch's. Like Solzhenitsyn, I believe that in the end, words will crush concrete. Solzhenitsyn wrote, "the word is more sincere than concrete, so words are not trifles. Once noble people mobilize, their words will crush concrete."
Sincerity is all that counts. It's a widespread modern heresy. Think again. Bolsheviks are sincere. Fascists are sincere. Lunatics are sincere. People who believe the earth is flat are sincere. They can't all be right. Better make certain that you've got something to be sincere about and with.
I've given up on being accurately portrayed in the media.
I would then say that there are two kinds of feeling. The first is to feel in the sense of concentrating your emotions on something immediately available for your understanding: you make your understanding out of the emotions you have about it. The second is to feel in the sense of being affected without trying to understand: something is felt, you do not know what, and it is more important to feel it than to try to understand it, since once you try to understand it you no longer feel it.
Sometimes I'll go for something more because of the story, or more because of the director. But, generally, I have to feel like it's something that I have a real sympathy for - a person that I can completely go, "Oh, wow, oh, I'm there." Otherwise I don't feel like I will be able to pull it off at all. I know I haven't done everything very well in the past; some things have worked and some things haven't. But I need to feel like I can feel about the person, understand that person, I suppose.
I know most people don't like to be around teenagers but I do. I'm one of the only people I can think of who can't wait for my kid to be a teenager. I think being a teenager is one of the most wonderful things in the world. I really enjoyed it - just this heightened emotional state where everything is beautiful and everything is new and you're convinced that you're really going to break the mould and be different from your parents. And the best part is that you have so much more time that you didn't have as a child.
When you're a teenager, your essence is so specific to being a teenager, and everything becomes so extreme. Your emotions are on the surface, and you oscillate between different things at one time.
I recognize that memory is far from infallible though. If I feel like I can't accurately describe something, I just leave it out. I also do things like write "he talked about ..." instead of writing direct quotes. But generally I feel like since my stories are very obviously meant to be my perception of an event rather than the objective truth this gives me a lot of leeway.
Norman is a very up-close, personal, character drama and I'd like to do something more zoomed out, a little more pastoral, some sweeping epic. I'd like to try something different.
Texture is very important. Just the feel of everything. It's not always about recording everything in pristine quality and having everything mixed where it's absolutely perfect. It's more about a vibe.
Movies make teenagers have quippy answers for every question. Nothing seems to faze them, and they're like, 'Oh, whatever.' You're not like that when you're a teenager. You're really earnest. Things really feel like life or death. And you kind of oscillate between emotions at one time. It's very emotionally draining being a teenager.
YA, I feel, is so accurate to what it is like be a teenager and the realities of being a teenager and being in love.
In a sense, you're always mythologizing your life; it's always an effort to make yourself epic. At least in fiction you can lie and sort of justify your delusion about your "epicness." But when you're writing a memoir, you're trying to make your life epic and it's not - nobody's life is.
It's hard when you play something that people are like, 'Wow that's really cool - you just did something really epic,' because you're not always going to be playing epic characters in a role.
I want each season to feel new and special. I don't want it to feel, "Oh, more of this." That's something that's easy to do in the first three seasons, and harder to do as you go. I'd rather err on the side of blowing up everything and being like, "Why did you do that? There was more story to tell there," and moving the family to Mexico like on Weeds, instead of people going, "Oh, we've seen this already. We're tired of this."
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