I want people to think about movies and how we watch them. Let them know it's okay to question the structure or how we're sometimes duped into a false sense of normalcy. Most of all, I want people to question the old standard practices of, 'This is how the structure of something should work,' or, 'This is how a character must behave.'
Reading 'Blood Will Out,' one begins to understand how so many people were duped by Clark Rockefeller. All the imposter needs is some kind of initial agreement that he is who he says he is; thereafter, consensus builds via a network of human relationships.
I see a lot of people try to come out and copy me, duplicate me, and give it the old college try, but at the end of the day, there's only one Chael Sonnen.
Once we went off into the singles world, I noticed there is something very unique about Brother Nero. People are drawn to him, and he has intangibles and charisma that cannot be emulated or duplicated.
Computers are wasteful of paper and time. Once, we'd get documents with a few errors. Now, people make hundreds of copies until each sheet is flawless and memos are duplicated endlessly. Managers get swamped with emails.
Young people, for whom I should have been a role model and an uncle, duplicated my worst habits and died as a result.
I'm hypersensitive to negativity and duplicity, and I want to push it away by writing comedy. Maybe that hypersensitivity comes across and allows me to play dastardly, multi-layered people.
People are too durable, that's their main trouble. They can do too much to themselves, they last too long.
It's sort of a feeling of power onstage. It's really the ability to make people smile, or just to turn them one way or another for that duration of time, and for it to have some effect later on. I don't really think it's power... it's the goodness.
Suffering isn't a moral endowment. People don't always do well under duress, and it seemed to me to be truer to a fellow in that situation to make him angry.
What I found was when I started my first study, and then in subsequent studies, is here you have people under some kind of duress, or I chose to study them because they represented some kind of historical event, as it impacted on them or as they helped to create it.
People are capable of incredible gallantry and terrible cruelty in situations of extreme duress. I tried to showcase that range in 'Enclave.'
Surely no one can be sure he has visited Cienega; people say to themselves, do they not: 'Was it a vision; or have I, some time or other, seen dusk in a valley like this?'
I don't think people understand that being poor means you have to work from dawn until dusk just to survive through the day. I think there's some notion that poor people lie about all day not doing anything.
People who played action video games have better vision in the sort of conditions where there is not much contrast. It can make all the difference when driving at dusk, or in fog, in being able, for instance, to see a dog crossing the road in twilight.
It's tough when you're an artist because you get to go around the world and make a lot of friends, but guess what? One day, all these people that you love are going to die, from DJ Mehdi to DJ Dusk to J Dilla to Austin Peralta to DJ Rashad.
I keep trying to explain to people that the archetype of intelligence is not Dustin Hoffman in 'The Rain Man;' it is a human being, period. It is squishy things that explode in a vacuum, leaving footprints on their moon.
I'd say people that really inspired me at first were like, Dustin Hoffman, Jim Carrey... serious Jim Carrey though.
But the customer is the final, final filter. What survives the whole process is what people wear. I'm not interested in making clothes that end up in some dusty museum.
People tend to forget their duties but remember their rights.
