I am always interested in characters who are in these kinds of transitional moments in their lives, when it's not clear where they're going to end up. It's interesting territory for fiction.
I think because of these big issues of life and death that maybe sex feels like a crass question. But for Christ sake, this is a book that is so interested in an elemental human condition. And one of the ideas about surrender is an erotic surrender, too. These folks are surrendered by destiny; they surrender to each other in certain moments, but there is a lot of erotic surrender.
Obviously loss of family is huge and critical, but I think really it's more about losing a sense of family. The horror of that kind of incompleteness. Writing this book, I tried not to think about my father, which does no one any good fictionally. I did try to imagine not just the horror of that moment, but the horror of having witnessed it, and the lifelong void. And I think that's what's so frightening.
I write about how I was attracted to stripping because I didn't feel comfortable with my body, for instance, but there could be plenty of not-so-good reasons why I chose to go into journalism, too. Maybe someone had a trauma in childhood and it led them to become a nurse, or a lawyer, but because people stigmatize sex work they try to find a traumatic moment in your past and say, "There!"
Yoko Ono is someone who's music I've discovered more recently. The current cd rereleases of her albums all had bonus tracks recorded just with a tape recorder and I'm really into these at the moment because they have a great intimate feel.
The hidden village was something we found when we went to research in China we climbed a mountain in the Sichuan province where the panda sanctuary is based, and we climbed to this beautiful, mist-covered, almost primordial place and when we turned these corners these moss covered old buildings would come into view, revealing themselves and it was so beautiful and so unlike anything we'd seen that we literally took those moments and put them into the film [Kung Fu Panda 3].
I keep a notebook of the things I need to get done in a day, week, month along with my overarching goals. Whenever I have a couple moments on set or on a plane, I work on ticking off my to-do list.
You need great actors in this one, because there are moments where there's no way to get around it, you just need to come up with it. They have no time; they can't help you with coaches: "We've got to have it now!" Whether it's tears, whether it's a five-page scene. You can't put it off tomorrow because we're already behind; you've got to have it. I'm just amazed at the casting and how wonderful everybody was.
Actors, you kind of have these ebbs and flows. These moments where you're in your glory - where you're really cracking - and moments where you're not.
You don't really have a story until you discover the moment when the pressures on a character force a sudden, abrupt shift in direction and she falls through the net that has so far held her in place.
I started out as a poet who primarily wanted to write about image and moment. Over the years I've been trying to teach myself how to do plot and scene. My first story collection had the most issues with the plotlessness, and when I was writing my second collection I was teaching myself how to make things happen.
What goes through my head when I'm going to take a game-winning shot is ... I better make it. Don't be afraid of the moment.
One thing my mom didn't want any of us to do was to cry or to complain about life. Every day and night, even when we didn't have much food, we would pray together. And that for me was a beautiful moment. The fact of being poor didn't really hurt me.
I would never ever, ever, ever, ever do it again [All My Children]. It was the scariest thing I've ever done. I have such respect for people who do it, who can do it. What happened was they caught me at a good moment. I could use the money and this came along and it was with Susan and I thought, "Susan Lucci. I have to do this.
In film, you have to present everything on the screen so it's the opposite of what I usually do with storytelling. It forced me to think about how people walk, where they sit at that moment. With Princess of Nebraska, it was just fun to watch because the movie was so far from the story. It was very much a different story.
We have our phones right by our beds, right next to us in our most exposed, vulnerable moments. And yet the government could have been collecting information from our phones at any moment. I think that basically as humans, we feel that's a violation.
I would definitely write to the kid that I was before, to embrace the moment. I think that often times when you're coming of age or growing up you look forward and you work really hard instead of sitting back and relaxing and enjoying the moment.
There have been so many moments in our young life and our young career, but looking back it would have been great to share some of those with my family members, or have not worked so hard, I would always just be working during some of the fun times.
I have a beautiful wife and a wonderful support system and I think in those low moments, I could never thank them enough.
I think, irrespective of your race, everybody has moments in life where they don't fit in, or where they try to puzzle through who they really are or to find the courage of their convictions.
It seemed like, in the early '80s, there was just a moment where there was suddenly no specific notion of what a rock band could be or what a song could be.
I don't think there's ever been a moment in history where that, as an artistic message, has played very well, because people in their hearts know that's terrible and a lie.
I'm trying to use Palestine as a microcosm of the world, but maybe the world is a microcosm of Palestine. We're living in a moment that has lost attachment to the ideology behind boundaries.
Rupert Murdoch gave up his Australian citizenship in order to buy television stations in the United States, which is symptomatic of the way Murdoch operates. Everything is for sale, including his birthright. The Mirror is not read by soccer hooligans. It's read by ordinary people of this country. That comment is simply patronizing. But to be criticized by the Moonies and Murdoch in one breath is really just a fine moment for me.
If a person just takes what is socio-political and geographical from the themes of my films then that's not enough. But if the person goes out of the theatre and, for example, makes the dinner he's eating later on, extra nice then I feel that I have succeeded. We have this urge to anaesthetize the moment we're living in.
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