It's what we live for, to be able to make great illusions. The thing about 'Entourage' is everything we do is realistic. We go to the real places, we shoot on location. We get the real people. It's a perfect marriage between fact and fiction.
I see tragedy and comedy and pain and irony and all that stuff. But in the end I think life is fascinating, and I think people are more good than bad, and I think that the possibilities of progress are real.
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.
The only time it dominates is during a solo, or when we play a low blues and I put figures in behind Eric's vocals. There's never any real problem fitting guitar and organ together.
The human race will have no respite from evils until those who are really philosophers acquire political power or until, through some divine dispensation, those who rule and have political authority in the cities become real philosophers.
Real travel requires a maximum of unscheduled wandering, for there is no other way of discovering surprises and marvels, which, as I see it, is the only good reason for not staying at home.
All life is only a set of pictures in the brain, among which there is no difference betwixt those born of real things and those born of inward dreamings, and no cause to value the one above the other.
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.