Charles Stross Quotes
I tend to work on the principle that much humour relies on cognitive dissonance - on the foreground not matching the background, on the protagonist's response to a situation being inappropriate, and so on.
Quotes to Explore
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I don't keep people around me that aren't family. You don't get to stay. Unless you're eating at the table with us, you're not part. We eat together, we cry together, we live together, we die together. Everything that we do is for each other, and we care for another.
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When you're in your 20s, your 30s, even, you have - at least, I had - vast ambitions, and you sit around mooning about these things, and you're depressed, because you haven't done them. And it takes you a long time to come to the realization that if you can't be John Updike, well, then, you can't.
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I think I'm a critic of corporate power, whether locally or globally. And the term 'globalization' I've never found all that helpful.
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No critic writing about a film could say more than the film itself, although they do their best to make us think the oppposite.
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But for my faith in God, I should have been a raving maniac.
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I'm from Port Arthur, Texas! Little guy! Little character guy from one of the saddest oil-refinery towns in America. And here I was driving over to Beverly Hills, to 20th Century Fox, to be on 'M*A*S*H!'
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Unlike fashion, art isn't applied. It doesn't have to serve anybody. It doesn't have to be there for any other reason than to give an impression of what the world is about.
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The healthy man does not torture others - generally it is the tortured who turn into torturers.
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Never in a million years would I think I'd play in a Super Bowl.
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My experience is that's rare - that you have a script that is... what they call 'film-ready.'
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It is unfair to label me anti-Islam. I am an atheist and a secular humanist.
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The way to a man's heart is through his chest.
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The poverty program was not designed to eliminate poverty.
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I had written lyrics to a song called The Silent Extreme, which Alex later renamed Humans Being.
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At the heart of every great movie is conflict. It's the same with a meeting. There should be conflict and tension.
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I feel like I work on scripts for comedy as well as dramatic stuff the same.
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The journey matters as much as the goal.
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I'm a goody-goody. I'm the person who sits in the back row, makes fun of the teacher, and secretly does the extra-credit work.
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Taking photographs is generally an act of 'looking at the object, whereas 'being seen' or 'showing' is what is most interest to one who does a self-portrait...self-portraits deny not only photography itself but the 20th century as an era as well...an inevitable phenomenon at the end of the 20th century.
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A longbow takes a massive draw for the arrow to go anywhere.
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My message is that I want to reach the people - the people who work each and every day.
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I've felt real pain, and sometimes I channel the exhale coming out of that to write, and those are the songs that give me the most power and the most strength.
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I probably read 100 times more than I write, but that way when I move my characters through it, I know.
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I tend to work on the principle that much humour relies on cognitive dissonance - on the foreground not matching the background, on the protagonist's response to a situation being inappropriate, and so on.
