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.
If, then, my awareness of the past and future makes me less aware of the present, I must begin to wonder whether I am actually living in the real world.
With a good script a good director can produce a masterpiece; with the same script a mediocre director can make a passable film. But with a bad script even a good director can’t possibly make a good film. For truly cinematic expression, the camera and the microphone must be able to cross both fire and water. That is what makes a real movie. The script must be something that has the power to do this.
I have long argued that paying down the national debt is beneficial for the economy: it keeps interest rates lower than they otherwise would be and frees savings to finance increases in the capital stock, thereby boosting productivity and real incomes.
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.
That's because only a real artist knows the actual anatomy of the terrible or the physiology of fear - the exact sort of lines and proportions that connect up with latent instincts or hereditary memories of fright, and the proper colour contrasts and lighting effects to stir the dormant sense of strangeness.
I may say that B-love, in a profound but testable sense, creates the partner. It gives him a self-image, it gives him self- acceptance, a feeling of love-worthiness, all of which permit him to grow. It is a real question whether the full development of the human being is possible without it.
I haven't encouraged [Julia Marie Pacino] or discouraged her. I let her go her own way. I did say to her that I thought that she had a real gift, and it's a good idea to know that. It's always good to go with your gift.
Perhaps only people who are capable of real togetherness have that look of being alone in the universe. The others have a certain stickiness, they stick to the mass.
In real meditation you forget the body. You may be cut to pieces and not feel it at all. You feel such pleasure in it. You become so light. This perfect rest we will get in meditation.
Spurious prudence, making the senses final, is the god of sots and cowards, and is the subject of all comedy. It is nature's joke, and therefore literature's. True prudence limits this sensualism by admitting the knowledge of an internal and real world.
I'm like the opposite of one of those comedians who's funny on stage and depressed behind closed doors . On record, I can get pretty dark, but in real life I'm very carefree. But when I'm happy, I ain't writing songs, I'm out having a laugh, being in love. I wouldn't have the time. If I ever get married, it'll be 'Darling, I need a divorce, it's been three years, I've got a record to write!'
The real master is only a presence. He has no intentions of being a master. His presence is his teaching. His love is his message. Every gesture of his hand is pointing to the moon. And this whole thing is not being done, it is a happening. The master is not a doer. He has learned the greatest secret of life: let-go. The master has drowned his ego and the idea of separation from existence itself.