Chuck Klosterman Quotes
I honestly believe that people of my generation despise authenticity, mostly because they're all so envious of it.
Quotes to Explore
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I always try to keep a little bit of space in the year to work with other people. Because I love doing musicals, films and plays - projects where I'm not in charge, where I've got somebody else telling me what to do and I have to work with their vision.
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People must be protected from prejudice against their person. But people cannot be protected from prejudice against their ideas - because otherwise we're all done.
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Doing films in Latin America is like an act of faith. I mean, you really have to believe in what you're doing because if not, you feel like it's a waste of time because you might as well be doing something that at least pays you the rent.
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It's one thing to live my own life and know that I'm O.K. But there's another thing I want to take on, and that is letting people know that they're O.K., too.
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The key is working with great directors. A film is so many different people and all their talents, but particularly the directors, because of the idiosyncrasies of that person.
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I don't want to be known as the one who makes movies for older people.
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We are seeing a great awakening. A national movement of We the People, brought together by what unites us - a shared love of liberty, and an understanding of the unlimited potential of free men and free women.
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As an artist, I can't be responsible for how people interpret material.
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The reader is going to imprint on the characters he sees first. He is going to expect to see these people often, to have them figure largely into the story, possibly to care about them. Usually, this will be the protagonist.
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I understood, through rehab, things about creating characters. I understood that creating whole people means knowing where we come from, how we can make a mistake and how we overcome things to make ourselves stronger.
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I was trying to be someone for the first part of high school. I was kind of this nerdy kid who didn't want to be a nerd anymore. Even talking about it, I'm embarrassed. I'm like, 'Ugh, why did you care what people thought?'
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I think, with 'Pride,' I always knew that was something amazing because of the people who were in it and the story and the way it was written and who was directing. Anyone in that cast knew it was special.
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It makes me happy to think that this world of art-as-investment is a minuscule fraction of the art world overall. Most people who create, trade and own art do it for a much simpler reason. They just like it.
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In the long course of history, having people who understand your thought is much greater security than another submarine.
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Collaboration is just, really, a group of people getting in a room with their eye on a very similar prize and wanting to come out with the same show. The director, ultimately, is the guy in front of whom the buck stops. So, he has to have the courage to prevail. But, he has got to have a huge amount of respect for his collaborators.
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People who vote against this today are voting against me and I will not forget.
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My biggest luck was the Terry McMillan era, because what happened after the phenomenon of 'Waiting to Exhale' is that publishing woke up. They said, 'Wow. Black people do read.'
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As an author, you're really grateful for the people who are supporting you, but on some other level, that can be a dangerous echo chamber.
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I wrote the book Don't Die, My Love as I was going through radiation, so it certainly has an air of authenticity about it because I was there. I think all of my books took on kind of a deeper tone when the lady who wrote about cancer all of a sudden had cancer. I'm doing well. I went through it all and they said, 'You're fine."
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'Imposter Syndrome' is the feeling of wearing a mask and playing a role that one does not feel at home in. It is when you feel like you or your work is a fluke and that you're a dwarf amongst giants. Many of us have this, especially when we're in some sort of creative industry.
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A fantasy of mine is to do a podcast that's Marcel Marceau and I, and you only hear me laughing at him and trying to figure out what he's doing.
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The tradition has always been that in Roman films, the Romans are always British, and it's usually posh British: Laurence Olivier and his ilk. My take on all this was that it's a metaphor for empire and the end of empire.
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I honestly believe that people of my generation despise authenticity, mostly because they're all so envious of it.
