A Quote by Wes Craven
Last House offended a lot of people. The results in the theaters, even in Boston, reminded me a bit of things from when I was studying theater of the absurd, and the rise and the appearance of Ionesco plays, and things like that. Thinking, "My God, people actually are getting into fistfights. People are having heart attacks. People are actually trying to get into the projection booth to destroy the print."
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'Last House' offended a lot of people. The results in the theaters, even in Boston, reminded me a bit of things from when I was studying Theater of the Absurd, and the rise and the appearance of Ionesco plays, and things like that.
Obviously you've got God-given talent to do things that a lot of people can't do but I actually put the body of work in to get stronger, get faster, trying to work on my technique, trying to do little things that people usually don't do, just trying to improve my game.
It's good to be happy and tell us how cool your life is and how awesome you are on social media. It inspires other people to be happy, too. But a lot of times, people are trying to be happy in the wrong ways - with money or with different things that are not true happiness. It's leading people down a rabbit hole that actually doesn't exist. So people think like, "Yo, once I get this money and these cars and stuff, I'ma be so happy." But that's not true. And I feel like that's why it's very important to educate people on different things while you are actually on social media.
There have been times in my adolescence where I gave up. I was like, 'I'm just never going to be pretty. I'm never going to be like one of those people on the front of magazines.' It always seemed really strange to me that the projection of how people are in advertisements looked nothing like the people who were actually buying them. You know what I mean? I never understood that mismatch, and now I really start to see that the people you see in the media are a lot more like people actually are.
What I'm trying to do is teach people how to actually get individuals in organizations to do the kinds of things to make a difference. It starts with not just studying the mechanics but really understanding how people operate.
One of the coolest things about touring around, actually, is getting to meet people, and getting to pick up on things that other people like. So many times, people come up to me after a reading and say, 'You must have read this,' or 'You must have seen this,' or 'Do you listen to this?' Usually I haven't.
To a lot of people, my job is really fancy, so they're like, "Oh, whoah, you're a musician, wow!" Some people go to you, "Oh my god, you're a journalist!" And some people go, "What, you're a therapist? That's incredible!" So everyone, to a certain extent, has other people that you get impressed by, without even having a proper conversation or getting to know them. You're just like, "Oohhh, they're a bit fancy!"
A lot of people thought of casting me in various things while I was still inside the 'Bigg Boss' house. When I came out, people were actually waiting for me so they could offer me new projects.
People are so offended by female body hair. SO offended! They actually say things like, 'Ugh, those hairs are so long.' But we have no issues with a man being head-to-toe hairy. It's so weird.
I'm gonna find creative ways to connect with people that actually matter and exist. That's kinda like my goal, like, how can we creatively do things in a different way so that we can actually get people and talk to them?
. . . I do think that deep down, a lot of my work is about people trying to make reasonable accommodations of situations that are insane or absurd. . . . At first I thought the events had power in themselves, that I would just present them. I really wasn't aware of the things that finally became central issues to me - the shifting alliances, the way people hardly even know they've shifted. That part of [A QUESTION OF MERCY] is very familiar to me in terms of my other plays.
Instead of people thinking, 'Oh God, look at this terrible refugee crisis; we must do our bit', there's a lot of people thinking, 'How can we get out of doing our bit and find reasons not to provide sanctuary for these people?'
You seem to take things so personally, hating people and worshipping them--always thinking people are so important--especially yourselves. You just ask to be kicked around. I like people and I like them to like me, but I wear my heart where God put it--on the inside.
What's interesting to me is that in terms of people who I feel are getting what my game is about - and here I'm not even talking about what the elements of the story mean, like, whatever symbolism and metaphors and things are in there. But even the structure of the game, like, there's a fundamental structure and reasons in the way things are laid out, and parts of the game that are meant to draw people's attention to certain things, regardless of what's contained in that structure. And what's interesting to me is that some people get that, and some people don't.
I see robotic technology getting rid of the dangerous, the dirty, and the just plain boring jobs. Some people say, 'You can't. People won't have anything to do.' But we found things that were a lot easier than backbreaking labor in the sun and the fields. Let people rise to better things.
I think a lot of people, when they think about the house, they think of the print. But when people think about Emilio Pucci, I want them to think about this really, really hot girl, so my biggest job is to give her a face and an identity - and I do that by trying to associate that kind of print that people have in their minds with a kind of girl who is free-spirited, rebellious, a little bit rock 'n' roll, and who has a lot of energy, who is up.
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