A Quote by Carrie Brownstein
For film and television, it's interesting how fans feel that their particular ways of manifesting their affections are the correct ones. It's not just about being a fan, it's about how you perform your fandom. That's always been interesting to me.
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I am not quite comfortable with people identifying themselves as my fans. You know nothing about me. You have just seen me perform in a film. How can you be my fan? If I have to tell you honestly, I want an audience and not fans.
I'm very aware that pro wrestling fans can be some of the most vocal and passionate and descriptive about how they feel when it comes to pro wrestling. So I'm totally fine with how fans talk about how they feel, cause if they're not allowed to voice how they feel, then what's the point of being a wrestling fan. You gotta know what you like and what you do't like and that's fine.
Interesting thing that is happening in American society is that people are starting to talk about money. I don't know how you feel about this, but for a long time, nobody was talking about money. It was a secret. And it's kind of very interesting because we do lots of stuff to portray to people about how much money we have, the clothes we wear and the cars we have and the house - they all kind of depict to other people, signal how much money we make, but we don't talk about it specifically.
The fashion world has been great. We started Apple Bottoms about seven years ago; it's interesting to be able to create something from your perspective, for your fans and support. It's a little different for me, because about 70% of my fans are females.
I feel like there is never enough, and it's interesting to me because I don't think I'm that interesting. I can definitely bring something to the table, but it's just always incredible our fans are so dedicated and interested in what we are doing.
I think you reveal yourself by what you choose to photograph, but I prefer photographs that tell more about the subject. There's nothing much interesting to tell about me; what's interesting is the person I'm photographing, and that's what I try to show. [...] I think each photographer has a point of view and a way of looking at the world... that has to do with your subject matter and how you choose to present it. What's interesting is letting people tell you about themselves in the picture.
To my knowledge, there are, pretty much, two ways to be interesting: One is to actually do interesting things, achieve the remarkable. The other way to be interesting is to be interested, curious about the world and about other people - not relentlessly revelatory about yourself.
Everything starts with what's on the page, what a writer has come up with. And whether it is a big studio film or independent film, is the story being well told? Is it interesting? Is the character interesting? And is there something about the character that may stretch me?
There is nothing interesting about just seeing me doing the show then seeing the fans and how much people love me.
The script [of Regression] wasn't the draw for me. It was largely Alejandro [Amenabar] and his way of talking. To hear him talking about the script was way more interesting than the script. He wrote it, and so, English is his second language. It's an interesting thing. I've had that before. I was directed by Alfonso Cuarón before, too. It's always interesting when you're being directed by somebody like that. So much of directing is about communication, and finding the right words, and what it means, and how to convey certain emotions and ideas.
The ways in which people are damaged are the ways in which they're strong. It's what makes people interesting - what they've overcome and how, and what they haven't and how that's become a good thing. Almost everyone's life is both a gorgeous story and a tragedy. I think being alive is really, really hard, and I'm constantly stunned and amazed by people who make it interesting and beautiful.
What's great about symbols, what a writer can do with them is provide a really vivid, interesting image, and the reader will do the rest of the work. That's always been very interesting to me. Like if I just introduce the storks, I don't have to say what they mean because the reader will do that. And if I bring in the dark history of the region, other trends come up, for example how in ancient Egypt they are associated with the souls of the dead. You can surprise yourself by introducing an image and then see how developing the story fills it with meaning that is suddenly new.
Dharma is not about credentials. It's not about how many practices you've done, or how peaceful you can make your mind. It's not about being in a community where you feel safe or enjoying the cachet of being a 'Buddhist.' It's not even about accumulating teachings, empowerments, or 'spiritual accomplishments.' It's about how naked you're willing to be with your own life, and how much you're willing to let go of your masks and your armor and live as a completely exposed, undefended, and open human person.
I'm sure people are badmouthing me. I think one of the interesting parts about the criticism has been the tenor of "how dare he." How dare an insider speak critically about other insiders?
I gravitate to the roles, not necessarily television or film. It's just the fact that, for me, the most interesting roles have been in television.
My stories often begin with a situation or character rather than an insight about the human condition. It's always been difficult for me to write from an abstract idea, no matter how interesting or compelling I feel the idea might be.
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