A Quote by Tavi Gevinson
A lot of people glorify and romanticize the idea of being an early bloomer: finding success very early and being a child star. But it can also be quite dangerous.
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The famous Apollonius being very early at Vespasian's gate, and finding him stirring, from thence conjectured that he was worthy to govern an empire, and said to his companion, This man surely will be emperor; he is so early.
People don't understand being a child star is very hard because first off, to be a child star, you have to be very unique. These kids are talented to be able to do it at such a young age. At the same time, you go through the pressures of bullying and a lot of people not understanding.
Early in the phase of being in a female body, there's all this desire that comes at you, a lot of it hostile, a lot of it dangerous, a lot of it ruinous.
It's dangerous to be a child star, but it's dangerous to be a child in the ghetto, or to be a child at school being bullied.
I quickly said that, because of my loyalty to 'Star Trek' and also just being a fan, I wouldn’t even want to be involved in the next version of those things. I declined any involvement very early on. I’d rather be in the audience not knowing what was coming, rather than being involved in the minutiae of making them.
I got into theatre very early, so yes I was surrounded by gay people quite early and frequently.
I think that's important for all ages, to not be afraid of being an individual. I grew up on my own, as an only child, so early on I think I was quite capable of making decisions by myself and being an individual.
I learned a lot, in terms of inspiring people. It became very clear to me, very early on, that directing a movie was a lot like being in a theater company.
As sonic journalists, we were increasingly becoming bombarded with global images. It was the early idea of the cut-up, the idea of images being juxtapositioned, which we were doing with sound. That was the early days of samples.
I knew from an early age that people didn't see the different sides of me. I formulated a kind of bi-cultural identity quite early, and I was always very comfortable with it, but I knew people didn't quite see that.
The idea of being a 'child star' always sounded awful to people my age, and so I was just very aware that these things are kind of fleeting and that a lot of it didn't have to do with me: it had to do with my age; it had to do with whatever came to mind when people thought of a young internet sensation.
True to their history, the English are very domineering and have manipulated it in different ways. I wouldn't say that there was an original, but there is a lot of expurgation in some of the Victorian translations, and there's a lot of additional salacious nonsense in some of them, too. I also like the early French one, much-derided for being fanciful but which is actually very elegantly done. It's very big, very capacious.
The idea that boxing lends itself to cinema so well is because it's usually a morality play - good against evil, insecurity and triumph, fear strikes out, so the audience can really get drawn into the drama of it. Also, it was sensual and very primal. I think subliminaly we do two things - life is a fight, life is a struggle and we understand that from our early, early, early ancestors, and life is a race.
It taught me, at an early age, that being wrong can be dangerous, but being right, when society regards the majority’s falsehood as truth, could be fatal.
People learn, early in their lives, what is their reason for being. Maybe that's why they give up on it so early, too.
I kind of shy away from that idea of being an actress because it seems to me to be such a cliché. Also, if you want to be a serious actress, then it's quite difficult to make that transition without being the blond bimbo in the opening credits. Maybe I'm being idealistic about acting and the idea that they would hire people purely based on their talent and not on their looks. But I don't know if I would be a very talented actress anyway.
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