Chuck Klosterman Quotes
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Internet porn makes everything more reasonable -- once you've realized there is a massive subculture of upwardly mobile people who think it's erotic to see an Asian woman giving a hand job to a javelina, nothing else in the world seems crazy.
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When given the choice, we’d all rather be happy now … even if that guarantees we’ll all be sad later.
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That's like comparing apples with hermaphroditic ground sloths.
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It's far easier to write why something is terrible than why it's good. If you're reviewing a film and you decide "This is a movie I don't like," basically you can take every element of the film and find the obvious flaw, or argue that it seems ridiculous, or like a parody of itself, or that it's not as good as something similar that was done in a previous film. What's hard to do is describe why you like something. Because ultimately, the reason things move people is very amorphous. You can be cerebral about things you hate, but most of the things you like tend to be very emotive.
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If I basically view criticism as sort of an interesting form of writing about oneself, an interesting form of autobiography, then I don't feel any pressure to have any kind of authoritative, universal voice. That kind of thing has never interested me.
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The deeper reality is that I’m not sure if what I do is real. I usually believe that I’m certain about how I feel, but that seems naive. How do we know how we feel?…There is almost certainly a constructed schism between (a) how I feel, and (b) how I think I feel. There’s probably a third level, too—how I want to think I feel.
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Soccer is like punk rock: The product is not necessarily terrible. The problem is the fan base.
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When someone writes a book review, they obviously already self-identify as a writer. I mean, they are. They're writers, they're critics, and they're writing about a book about a writer who's a critic. So I think it's really hard for people to distance themselves from what they're criticizing.
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In the eight years I worked at newspapers, even during a little stretch when I was a film critic, I was never, ever doing exclusively criticism. In the daily newspaper world, much more value is placed on reporting than on thinking abstractly about art. The eight years I was in newspapers, I was mainly a journalist in the conventional sense, and just doing criticism when there were opportunities.
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In the Far East, it's very normal for people to wear masks in flu season. I don't know if I'd ever do that, though, because I don't like having things on my face.
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We argued about how hard it would be to ride a bear, assuming said bear was muzzled.
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And all I could do while I listened to this dude tell me how punk rock saved his life was think, Wow. Why did my friend waste all that time going to chemotherapy? I guess we should have just played him a bunch of shitty Black Flag records.
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What's kind of happening is the conflict over football might be a class conflict where there is a percentage of people who have no relationship to physicality and a percentage of the populace who still does.
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But whenever I meet dynamic, nonretarded Americans, I notice that they all seem to share a single unifying characteristic: the inability to experience the kind of mind-blowing, transcendent romantic relationship they perceive to be a normal part of living. And someone needs to take the fall for this. So instead of blaming no one for this (which is kind of cowardly) or blaming everyone (which is kind of meaningless), I'm going to blame John Cusack.
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Art and love are the same thing: It’s the process of seeing yourself in things that are not you.
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A lot of people have this strategy where if they have a hard question they wait to ask it to the end of the interview because they think the person is going to walk out. But what they have to realize is, is that if the person walks out, they have a pretty successful story.
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The worst thing you can do to anybody trying to be creative is to demand participation in their vision.
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I am of the opinion, and have been for a long time, that any kind of big technological move is almost always positive in the short term but inevitably somewhat negative in the long term. And I think there are many examples of this in every possible context.
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We assume that all statements must be mild inversions of the truth, because it's too weird to imagine people who aren't casually lying, pretty much all the time.
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I feel like a lot of people involved with celebrity journalism have interesting ideas about the people they want to write about going into the interview. Then as soon as they actually sit down with that person, they basically ask the questions they think journalists are supposed to ask, and they start viewing themselves almost as a peer of the subject. Like they're going to become friends. That's why most celebrity journalism is so terrible.
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We would sit in the living room, drink a case of Busch beer, and throw the empty cans into the kitchen for no reason whatsoever, beyond the fact that it was the most overtly irresponsible way for any two people to live.
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I think that most technology is positive in the short term, and negative in the long term. I wonder, if somebody looked back at the 20th and 21st centuries a thousand years from now, what their perception of the car would be. Or of television. I wonder if over time, they'll be seen as this thing that drove the culture, but ultimately had more downside than upside.
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I think anyone who's not as good a writer as me is absolutely a hack, and I think anybody who's a slightly better writer than me is brilliant. So of course that makes me a horrible critic when it comes to books, because I can't distance my own experience from what I'm doing.
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I am ready to be alone.