A Quote by Zawe Ashton
The actors I admire always have something to say, or a level of poetry, belief, activism or intelligence about what they do or how they feel.
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Actors who perhaps are super-confident and have absolute belief in themselves I always admire, because I can't really be like that. Because you never know what's right: what you feel inside versus what is portrayed.
My activism always existed. My art gave me the platform to do something about the activism.
Actors who perhaps are super-confident and have absolute belief in themselves I always admire, because I can't really be like that.
I do not see how a man can work on the frontiers of physics and write poetry at the same time. They are in opposition. In science you want to say something that nobody knew before, in words which everyone can understand. In poetry you are bound to say ... something that everyone knows already in words that nobody can understand.
Commenting to him about the poetry J. Robert Oppenheimer wrote.
The intelligence community's 2002 National Intelligence Estimate (NIE) stated, in a formal presentation to President Bush and to Congress, its view that Saddam had weapons of mass destruction - a belief in which the NIE said it held a 90% level of confidence. That is about as certain as the intelligence community gets on any subject.
I do feel that a poem needs not just space, but, ideally, space around that space - space for meditation, reverie, subliminal link-ups. I sense that poetry happens at a level above or below intelligence. It doesn't come into being at a purely rational level.
The Divine Comedy is a political poem and when you say poetry is not about - he's always quoted out of context, that "poetry makes nothing happen," that doesn't mean you shrug your shoulders and don't try to make anything happen. And Dante felt that poetry was engaged, there was a point of view; it's not my point of view, it's orthodox medieval Christianity, and I have my troubles with that. He didn't feel that you could just rule out so important a section of life - we care about these things, and it's out of caring about them that we write poetry.
I was raised in a strict fundamentalist household, and I always say that gives you a muscle of belief. I want to believe in something, but I don't believe in what my parents believed in. Poetry has taken the place, or I think the arts have taken the place, of religion in my life. I wanted to see how that was working out through the poems.
The deeper reality is that I’m not sure if what I do is real. I usually believe that I’m certain about how I feel, but that seems naive. How do we know how we feel?…There is almost certainly a constructed schism between (a) how I feel, and (b) how I think I feel. There’s probably a third level, too—how I want to think I feel.
One can say that the disaffection is still a lingering naiveté about, not the place of poetry in the world, but - how to say this - the moral and intellectual presence of poets in the world. And while this may seem an old conversation to many poets who roll their eyes and say, "Here we go again about the function of poetry," I think that conversation, about poetry as an engaged art in a world that is full of regression or still lacking in progress, is still really not well-developed. It's almost an avoided conversation.
I definitely notice the absence of character in most poetry, which is not so say that I'm an innovator in that regard. Character-based poems are not weird or new by any stretch but they feel strange and new because the atmosphere is one in which no one does that. People always talk about, and with good reason, poetry's unpopularity. When people say that they forget or they brush aside the fact that in the middle part of the last century poetry was immensely popular. Dylan Thomas was basically a rock star; so was Anne Sexton.
I've been enormously fortunate. People say, 'How do you feel about your reputation?' My real belief is that I have exactly the reputation I deserve... on the whole, I feel comfortable with myself.
I always think that the deal, once I do the script, sort of the experience I go through writing, which is everything you can imagine, but I always think it's the one thing I can do when I'm directing is say is that it's all about the actors, that I can say, 'We're all here to serve the actors.'
The way the left is reacting to the death of Fidel Castro up against the incontrovertible facts of who he was, you want to talk about a disconnect. In fact, I don't think it is a disconnect. I think the left, the power brokers, the leaders, I think they actually did admire the guy. I think this is what they think Castro's power - I've always said, the people have asked me, how do these actors and people and these leftist politicians, how come they admire people like this? I said, "They envy their power." And I think there may be a lot to that.
I don't believe anything I write or say. I regard belief as a form of brain damage, the death of intelligence, the fracture of creativity, the atrophy of imagination. I have opinions but no Belief System (B.S.)
As for my relationship to Beethoven, I admire people who can say what they really think. It's as though he's saying, 'That's how I feel about the world, and I don't care what people may say.' His music is pure and honest. Beethoven never pretends to be anybody else.
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