Geoff Dyer Quotes
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I think that if you are a resolute, unswerving atheist, you have that sense that you are conscious of the God-shaped hole that has been left in the wake of any religious belief, and in a way, one is much more drawn to articulate why it is that certain places, or certain experiences, have a kind of power.
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When I'm writing, quite often I start having a good time when I see there's a chance to make myself look like a real jerk. I start chuckling and having an interesting, rather than a boring, time.
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I'm as strong and supple as a pane of thin glass. I've got too many ailments - left shoulder, left elbow and left wrist - in fact, the whole of the left arm.
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Virility of one kind or another is so important if you are to feel like a man. You have to be able to perform stunts. You have to be able to show off in front of your woman, do things she urges you not to do because they look dangerous. (p. 64).
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The series 'Generation Kill' is, along with everything else, a sustained critique of the structural and conventional fictions of 'The Hurt Locker.'
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Have you ever stayed at the Four Seasons Hotel in Mumbai? I'd warmly recommend it. It's super luxurious, and right next door, there's a classic slum. So you can do a quick slum tour and get back to your sanctuary without any inconvenience but with some excellent snaps.
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First, unreliability is not the sole preserve of fictional narrators. Second, the pleasure of patting oneself on the back for seizing on instances of unreliability and ignorance is, as the late Frank Kermode may or may not have pointed out, considerable.
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The person doing the learning is the person writing the book as much as the person reading it.
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We have in our heads a pretty well-defined narrative of the First World War, and there are certain events that are obviously key.
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I first got a sense of that idea of nodality - but I didn't use the word back then - with 'The Missing of the Somme': that sense of a particular place in a landscape or on a map having some kind of tremendous power to draw us to itself... that made me conscious, and since then, really, it has been an abiding concern of mine.
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I should have been happy-I was being paid to be here-but happiness does not respond to that kind of imperative; it is no good telling yourself you should be happy. (p. 225).
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If you're not religious, like me, how do you explain the transformational power that certain places have? They bring an incredible degree of attention to where you are and the passage of time. You're looking at every flower twitching, wondering if it's just the breeze or some magical pulse.
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The CGI landscape is another world. It has its own physical laws; it can defy gravity. But surely the wonder of cinematic space is that it is wedded to reality?
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The only thing that changes in my novels are the locations.
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There's one profound difference between secular and religious pilgrimages. It's inconceivable that a Muslim would feel a sense of anticlimax when reaching Mecca. But for a secular pilgrim, the potential for disappointment is always there.
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I was studying English, as you will, in the day, and five nights a week, I would be at the cinema. That continued throughout my 20s, which was also the 1980s - there was a lot of really good films coming out then.
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I think I can recognize when a piece is at a state of completion.
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It would be nice to turn off that incessant churning of consciousness.
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I remember being interviewed about my first novel, 'The Colour of Memory.' They kept using the expression 'your first novel,' and I said, 'No, I object to that phrase, because this is it for me.'
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Sharing a room with one person is worse than sharing with six, and sharing with six is in some ways worse than sharing with sixty.
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Making the ordinary potentially magical is what film should be all about.
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The best way to learn was by looking, to become articulate in the language of sight. The eye could learn to look after itself. (p. 180).
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I was constantly surprised by how much people didn’t know. That’s one of the things about traveling, one of the things you learn: many people in the world, even educated ones, don’t know much, and it doesn’t actually matter at all. (p. 15).
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There is a thematic continuity here within Bigelow's work: 'The Hurt Locker' serves up a military equivalent of the thrill-trips that Lenny Nero was hustling in her earlier 'Strange Days.'