If you can't count on your heart having some kind of unified response, you can't count on anything. You use your heart as a barometer for your movie's completeness.
I wasn't sure what I wanted to do with my life. I always wanted to pursue either music or comics, so when the opportunity came from comics publisher Fantagraphics for my brothers Jaime and Mario and I to make a comic book together, we jumped at the chance: "Let's just do it and see what happens." Really, we weren't sure where we were going to go with it. We thought our work was good enough to be out there, but we didn't know that the response was going to be pretty good, pretty quick.
Right now, I see a lot of alarming trends inside Russia, especially in Siberia, which I represent in the parliament. People start to ask questions: If we mine all the natural resources - if we have all the oil, all the gas, all the coal, all the gold, all the diamonds - why the hell do we need central Russia? They are just eating at our resources. Without Moscow having a response for this, it would face very nasty questions such as one that was asked during my recent reelection campaign - it actually became a slogan of my campaign - "Stop feeding Moscow."
The way I think of it is that Russia is not going to change fundamentally. They may change tactics; they may look at their interests and figure out what actions they take, but they're not going to change fundamentally. And they're going to try to gauge what will the responses be to things that they do, and what will our things be. And here, they do wonder what is the level of our resolve? How far are we willing to go? And that is something that is very hard to gauge.
To be honest, I am not theatre-trained and though I am confident in my skill set, to do theatre requires a better-tuned set of muscles and I sometimes defer to actors who are better trained. But at the times I do want a shot, I'll go for it, especially if the piece speaks to me and the opportunity comes up. The immediate response from a theatre audience is so thrilling, affirming, and soul-feeding; to know how you've affected an audience at curtain can be ego-blowing, both good and bad.
I don't use "feelings" as a diminutive word. I'm trying to take feelings back. I think of everyone on the internet whose response to everything is: "#Feelings! This is important, this is real, this is significant!" That connects to power, too. Wanting to feel like you have power and control over your life.
My response to my friend Naheed Nenshi was simply to say that some of the hyperbolic language that's being used to critique this sensible reinforcement of the public nature of the citizenship oath is, I think, unhelpful, and is actually inflaming the situation.
News has a way of distancing us from events, even as it informs us about them. News articles almost always present both the event and the responses at the same time - how is President Barack Obama or Congress responding to the events? I think this reflects a deep need we have to feel that things are under control and that events are subject to our influence.
I think, oddly, that the world of the amateur is quite self-contained, and it depends on "likes" from other amateurs to perpetuate itself. Of course an awful lot of my colleagues are involved with Instagram - they get likes and dislikes, maybe just likes, I don't know - but I think that it's far less self-contained, the world I work in. It goes off in different directions, and is dependent on responses different from a tick or a like or whatever.
I'm really happy that people are starting to hear my band, and we are so happy to be conduits for all this other happiness, and this emotional response. So, I can't be like, "that doesn't matter to me, I'm an artist, I exist apart from that!" But on the other hand, if you buy into that too much, you're setting yourself up... if I start thinking, "well, people at the show really liked one song, maybe I should write more songs like that," then I'm in trouble.
When I first asked to take pictures of women at their homes, I was using my formal camera and I struggled to get the shots because I was still very much in the role of the photographer. Then the next time I had this little digital camera and their response to me would be completely different - I was a friend and I got new kinds of pictures. I was always treading a line between photographer and friend.
At the beginning of my career, a more senior photographer told me to shoot stories on women and I didn't want to. But I spent two and a half years in India and chose to do stories about women because I was shocked by their treatment. My stories in the Middle East and on the border of Europe and Asia were a response to my time in India. They weren't driven by a feminist idea but when you're moved by women's issues in these countries you can't help becoming a feminist somehow.
I don't really stay away from politics but the bullshit just gets to be too much. Any political tweets I take down after an hour or so. They are met with such a wall of stupidity and anger, it is hardly worth it to leave it up. Particularly, if you say anything about Hillary Clinton, the responses are just nuts - "YOU JUST FEAR SMART, STRONG WOMEN, MR. MAN".
When I'm asked to define "Southern food," I usually turn that question back to my audience and ask them what they think. I hear responses like fried chicken, catfish, barbecue, collard greens, and sweet potatoes. These are excellent examples, because they are historically grounded. You can trace each dish back to the people who brought these food traditions to the South. Today, these foods are central to the core culinary grammar of the American South.
I'm very objective about what I want to have happen to my protagonists and where that has to come from. On one hand, it does help me that I had a mother who might have taken the last dollar and bought a pack of cigarettes or something, but I also had a mother who exposed me to art, music, other religions, different foods. My mother was very adventurous in her own way, so she fed the part of me that was going to grow up to be a writer. But there's always, too, the opposite response that helps me to create.
I think the slowness of exchange is over, and the idea of waiting for a response - that's gone. People don't want to wait. It's all this instantaneity. That's fine. But it also makes writing different, if you're writing for an instant exchange compared with being able to have time for more reflection.
When I was on an American show in 2015, I tried to talk about the threat Vladimir Putin posed to the free world. The interviewer said, "Wake me up when he takes over Poland." We heard something similar from years ago and we ended up with World War Two. Putin decided to skip Poland and went straight to Wisconsin. Putin is at war, a hybrid war, with the free world. His domestic propaganda is based entirely on a strong man challenging the free world. When the demonstrations around Russia began, the harsh response was because it was more important to show strength.
We see threats to liberal democracy coming from lots of directions. We have to create something new, a common response, because in so many places - the UK, France, Germany - ultranationalists and the far left threaten the free market and liberal democracy.
Dictators are not strategists in the way I normally use that term. All the dictator cares about is survival. That means constantly worrying about the tactical response, "What do I do today, tonight, tomorrow morning, to stay alive?" Vladimir Putin doesn't care what happens a year or five years from now. He just cares about staying in the game. That is all he needs to survive.
The idea of legitimacy is something I suppose I deal with in my fiction, and in part it's probably a response to my upbringing. When I was growing up I was the middle child, pathologically shy, in a family with a very loud and opinionated older brother, and I felt as if I never had the right to speak. As a result, I simply didn't speak very much.
I was in college - Carnegie Mellon, which is one of the reasons Pittsburgh was appealing to me - and I personally feel that whole world of what we used to call "college radio" is a big part of what kept me sane through a period where I stopped dating, I felt like a freak, I felt like no girl would like me. You know, a very adolescent response to losing my hair. I turned to obsessing about The Replacements and The Smiths and R.E.M. and getting further into The Velvet Underground. People who, in my sheltered suburban life, I knew of, but didn't know fully.
First of all, "redneck" is a state of mind, not a person. So the "racist redneck" thing is a state of mind, not a geographical location. So I don't mean to imply that it's just Southerners. And if you don't recognize the racist underpinnings and the emotional reactive response you're getting from these teabaggers because we have a black president, then you are either being dishonest, or you've never seen the teabaggers.
Black people in America have to, for their own protection, develop a defense mechanism, and I just grew terribly tired of it. When you sustain that kind of affront, and sustain it and sustain it and sustain it, something happens to you. You try to steer a course in American society that's not self-destructive. But America is a country that inflicts injury. It does not like to see anything that comes in response, and accuses one of anger as if it were an unnatural response. For anyone who is not white in America, the affronts are virtually across the board.
As poets, we're writing into the void, and we're not writing to be bestsellers. Whatever individual responses we get, whether at a reading, by a conversation or a letter, mean the world.
When people hear about legal restrictions on marketing and advertising, often the response is: Aren't you just being a food nanny? Isn't that government playing too much of a role in our lives? When people have that response, they're forgetting the extent to which what kids are eating and drinking is having as much of an impact on their lives as, say, if they were starting to smoke cigarettes as teenagers. Diet-related illnesses are causing nearly as many deaths as tobacco-related illnesses.
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