Revolutionary realism tries to draw the maximum advantage from every situation - that is what makes it revolutionary - but at the same time it does not permit us to set ourselves fantastic aims - that is what makes it realistic.
Nick O'Leary loves to compete. His work ethic is fantastic, and that's what I like about him. He works, and works, and works; and if he has to get better, he gets better.
Sometimes during a show or a film, while you're shooting it, you'll think, "This is great, it's going to be fantastic, the script is incredible, and the actors are great, and everything is working out brilliantly." And then you see it, and you kind of go, "Oh god, it's not as good as I thought it was," and it doesn't get an audience to watch it. It only does a couple of festivals and then dies and whatever.
It's one of the things that attracted me to the role [Doctor Strange] is the fact that it's a really widely origin story, I mean this is part of it, but of course there's the whole chapter before where he's the neurosurgeon who has the accident. It's fantastic.
I got into film in an odd way - when I was 17 years old I participated in a Swedish film as an actor. I think every person at that age should get a role in a film, because during that time you want acceptance, and when you have a role in a film you become an important person. I think about that now, and that was my fantastic starting point.
I discovered Twitter, as I remember, and the idea of watching a global conversation go by immediately struck me as a fantastic thing. So I suppose it's not TwitterVision per se that excited me, but Twitter itself and its implications.
Working with people you adore and love. There's just a sense, all the way through all of the movies [Planet of Apes], that you're very rarely in a position where you have great material that you're passionate about and a big audience who love it, and the detail and nuance, and the exquisiteness of the fantastic actors and director with great writing.
Everyone got to choose what they wanted to wear on stage, and by the third time going into wardrobe the stylists already knew what I'd love and what I would never throw on my body in a million years. They were fantastic, and it was so lovely working with them.
Virtual Reality for Formula One could be fantastic - driving the car!
[Mackenzie Foy] is really a fantastic actress and she's very professional, but she is still a kid and that's really nice to see, whenever there is a balance and they're able to have fun and play on set, but still go home and hang out with friends her age. I was really impressed with her. I think the biggest change for us is that we had a "swear jar." And she was rich - she made more money than us.
I've always wanted to visit [Washington]. The Smithsonian has some fantastic archival material on blues music, which I'm really into. There's a ton of stuff I want to do there. but it just never happened.
I have used that song ["50ft Queenie"] and I'm a big PJ Harvey fan. I think she's fantastic.
[Captain Fantastic] it's a great story. It's one of the better scripts I've read, ever, as far as being great from beginning to end. It handles a variety of characters. You have six children who all stand on their own, they're all individuals. And it touches on a very real issue, which is the lack of cohesion and communication in America right now.
Captain Fantastic touches on that [division]. You meet this family that lives off the grid in the woods and you go, "Oh, it's some kind of liberal utopian fantasy. The enemy is gonna be all these conservative types that they'll probably run into, and that's going to be the story."
One of the most recent things we did [in Perceval Press] is a reissue of a fantastic documentary about Russian prison tattoo culture by Alix Lambert called The Mark of Cain. We've done books from Twilight of Empire, that actually has forewords by Howard Zinn and Dennis Kucinich and others, to books of poetry, photography, painting - all kinds of books.
I got into comics about the same time as music. By 12 years old, I had discovered my dad's killer comic book collection filled with Silver Age books from his youth...early Spider-Man, Thor, Fantastic Four, The Hulk, Detective Comics, Action Comics, you name it. Seeing those old books got me interested in new comics, so my friends and I would hit the local comic shop every Saturday to pick up the cool titles of my generation.
I come from a nation where fantastic fiction has a very low status, unless it fits into some very specific categories or is written by already established authors. I don't by any means try to hide what I write, but the way people think in categories here is pretty extreme: it blots out discussing the actual work on its own terms. That's made me loath to talk about my own work in terms of genre, because once you get a label, it sticks and poof go a slew of potential readers and reviewers because eww, fantasy cooties.
Happily, fantastic fiction is slowly gaining in status.
As a writer, author, creator of something the fact that people are still interested, is fantastic.
There is a document in every novel in the world. Even in the most fantastic novel, even in science fiction, there is a documentary side. But, this side is not the crux of the matter.
Michelle Obama gives a speech, and everyone loves it. It's fantastic. They think she's absolutely great. My wife, Melania, gives the exact same speech... And people get on her case.
Art is fantastic, but it's also that you come to Paris, you call me, I come to New York, I come to visit you, we hang out together, and that's art.
I'm not a designer who is very interested in baroque or in fantasy or in the fantastic side of fashion. This exists and this is important, but I'm interested in the very real dimensions.
Melbourne is a fantastic place to work, but it's not the centre of the world.
The first time I ever went to Chicago was with Zappa and I had a fantastic experiences with him and every other band I've played with. It's a great music town.
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