I think all tragedies are best told with some humor. You have to relieve the darkness to let the reader get through it. Also, that life has happiness and sadness mixed together. If you told a story that was all darkness, it wouldn't be real.
Storytelling, you know, has a real function. The process of the storytelling is itself a healing process, partly because you have someone there who is taking the time to tell you a story that has great meaning to them. They're taking the time to do this because your life could use some help, but they don't want to come over and just give advice. They want to give it to you in a form that becomes inseparable from your whole self. That's what stories do. Stories differ from advice in that, once you get them, they become a fabric of your whole soul. That is why they heal you.
I began as a dramatist in the theater, so I'm always thinking about how a story moves, what it looks like, how to engage the senses, how dialogue sounds, what feels authentic and sounds real, what's funny, how to build distinctive and original characters - all the aspects of playwriting, scene-building, the architecture of dramatizing.
Strip the human race, absolutely naked, and it would be a real democracy. But the introduction of even a rag of tiger skin, or a cowtail, could make a badge of distinction and be the beginning of a monarchy.
For Tibetans, the real strength of our struggle is truth - not size, money, or expertise. China is much bigger, richer, more powerful militarily, and has much better skill in diplomacy. They outdo us in every field. But they have no justice. We have placed our whole faith in truth and in justice. We have nothing else, in principle and in practice.
There is no such thing as a good influence. Because to influence a person is to give him one's own soul. He does not think his natural thoughts, or burn with his natural passions. His virtures are not real to him. His sins, if there are such thing as sins, are borrowed. He becomes an echo of someone else's music, an actor of a part that has not been written for him.
Krzhizhanovsky wanted to perform imaginary experiments with the nature of time and space. Outside, in the streets, the Communist state was busy performing such experiments for real. In response, Krzhizhanovsky's prose has a recklessly unstable tone in which delighted examination of impossible worlds can slip into ferocious political sarcasm.... It is a method for investigating how much unreality reality can bear.
The real difference between democracy and oligarchy is poverty and wealth. Wherever men rule by reason of their wealth, whether they be few or many, that is an oligarchy, and where the poor rule, that is a democracy.
The Oval Office is a place where there's been, obviously, a lot of amazing experiences over a seven-and-a-half year period. My presidency is one where I've had to make some very tough decisions. I guess some presidencies are kind of - were real smooth, there were no real big issues. Well, that's not the way mine is.
There's a real difference between a documentary that was all about facts and history and information. People just don't get as engaged in that kind of documentary - they don't fall in love, they don't cry, they don't forget who they are, they don't ride with you. As we realized we had richer, vérité kind of people, what we wanted to do is focus in on the vérité story.
Peace is not just the mere absence of violence or disturbance. It's when there is a possibility of conflict, but you deliberately avoid violence and adopt methods to solve the problem through peaceful means. That is real peace.
The moth don't care when he sees the flame
He might get burned, but he's in the game
And once he's in, he can't go back
He'll beat his wings till he burns them black
No, the moth don't care when he sees the flame
The moth don't care if the flame is real
'Cause flame and moth got a sweetheart deal
And nothing fuels a good flirtation
Like need and anger and desperation
No, the moth don't care if the flame is real.