The mind is like a richly..
The mind is like a richly woven tapestry in which the colors are distilled from the experiences of the senses, and the design drawn from the convolutions of the intellect.
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The properties of people and the properties of character have almost nothing to do with each other. They really don't. I know it seems like they do because we look alike, but people don't speak in dialogue. Their lives don't unfold in a series of scenes that form a narrative arc.
At 30 a man should know himself like the palm of his hand, know the exact number of his defects and qualities, know how far he can go, foretell his failures - be what he is. And, above all, accept these things.
I'm not an impressionist, per se, but if you do any kind of comedy - and they ask you to do that, most of the time - there's some degree of appreciation, I think, involving somebody you like.
'Steve Jobs' is my seventh movie. I believe, if you added them up, I don't think there is more than a total of 10 minutes that takes place in a person's home. They're all in offices, courtrooms, laboratories, things like that.
I remember during my lifetime I would meet women, and it was almost like God would say to me, 'Now, this woman here is not the one you are going to end up with, but she is going to be a lot like this woman; look at this woman, study this woman.' And when my wife showed up, He was like, 'You recognize her now?'
I'm more comfortable writing traditional protagonists. But 'Steve Jobs' and 'The Social Network' have antiheroes. I like to write antiheroes as if they're making their case to God about why they should be allowed into heaven. I have to find something in that character that is like me and write to that.
I've had a relatively charmed life. I loved to be out in the city. New York was my town. I've had people come up to me and say, 'You're a great New Yorker. You've given your time and money to so many New York charities. You're a great supporter of the arts. I like some of your movies - and some of your movies suck, actually.'
You know, one of the things I like about this world, or at least I like about the way we're presenting this world, is these issues are terribly complicated - not nearly as black and white as we're led to believe.
Every man needs slaves like he needs clean air. To rule is to breathe, is it not? And even the most disenfranchised get to breathe. The lowest on the social scale have their spouses or their children.
I always like to break out and address the audience. In 'The History Boys', for instance, without any ado, the boys will suddenly turn and talk to the audience and then go back into the action. I find it more adventurous doing it in prose than on the stage, but I like being able to make the reader suddenly sit up.
Christmas time! That man must be a misanthrope indeed, in whose breast something like a jovial feeling is not roused - in whose mind some pleasant associations are not awakened - by the recurrence of Christmas.
A person who can't pay gets another person who can't pay to guarantee that he can pay. Like a person with two wooden legs getting another person with two wooden legs to guarantee that he has got two natural legs. It don't make either of them able to do a walking-match.
Like all of Latin America, Mexico after independence in 1821 turned its back on a triple heritage: on the Spanish heritage, because we were newly liberated colonies, and on our Indian and black heritages, because we considered them backward and barbaric. We looked towards France, England and the U.S., to become progressive democratic republics.
I believe in books that do not go to a ready-made public. I'm looking for readers I would like to make. To win them, to create readers rather than to give something that readers are expecting. That would bore me to death.
Living is like working out a long addition sum, and if you make a mistake in the first two totals you will never find the right answer. It means involving oneself in a complicated chain of circumstances.