Real quotes
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"It's almost a social grace to get into the art world, and I'm very wary of it. Art was good in Berlin in the late '70s - there was a lot more guts to art when the Neo-Expressionists were starting up; it was real slapdash; it has real heart to it - but it seems so cold and heartless in America. It's a buyer's market."
"A mutual friend knew that we were both [with Iman Abdulmajid] on our own, with broken marriages and with children. We were brought to dinner one night. . . . It was absolutely instantaneous. I couldn't get her out of my mind . . . sleepless nights - real 18-year-old stuff."
"My son's full real name is Duncan Zowie Haywood. As a toddler he was called by his second name Zowie. But it was such an identifiable name during the Seventies that if I called him loudly in public places, everyone would turn to stare, so I started calling him Joey to take the pressure off. It has the same sound and number of syllables as Zowie. And Joe stuck for most of his childhood. Now he has reverted to his real name, Duncan. Haywood was my father's name."
"I've made over 25 studio albums, and I think probably I've made two real stinkers in my time, and some not-bad albums, and some really good albums. I'm proud of what I've done. In fact it's been a good ride."
"The first time I lay actual eyes on the real David Lynch on the set of his movie, he's peeing on a tree...Mr. David Lynch, a prodigious coffee drinker, apparently pees hard and often."
"Boo, I think I no longer believe in monsters as faces in the floor or feral infants or vampires or whatever. I think at seventeen now I believe the only real monsters might be the type of liar where there's simply no way to tell. The ones who give nothing away."
"At root, vulgar just means popular on a mass scale. It is the semantic opposite of pretentious or snobby. It is humility with a comb-over. It is Nielsen ratings and Barnum's axiom and the real bottom line. It is big, big business."
"Literary fiction and poetry are real marginalized right now. There's a fallacy that some of my friends sometimes fall into, the ol' "The audience is stupid. The audience only wants to go this deep. Poor us, we're marginalized because of TV, the great hypnotic blah, blah." You can sit around and have these pity parties for yourself. Of course this is bullshit. If an art form is marginalized it's because it's not speaking to people. One possible reason is that the people it's speaking to have become too stupid to appreciate it. That seems a little easy to me."
"Hal Incandenza has an almost obsessive dislike for deLint, whom he tells Mario he sometimes cannot quite believe is even real, and tries to get to the side of, to see whether deLint has a true z coordinate or is just a cutout or projection."
"The real irony is that the view of infinity as some forbidden zone or road to insanity - which view was very old and powerful and haunted math for 2000+ years - is precisely what Cantor's own work overturned. Saying that infinity drove Cantor mad is sort of like mourning St. George's loss to the dragon: it's not only wrong but insulting."
"The truth is that the heroism of your childhood entertainments was not true valor. It was theatre. The grand gesture, the moment of choice, the mortal danger, the external foe, the climactic battle whose outcome resolves all--all designed to appear heroic, to excite and gratify and audience. Gentlemen, welcome to the world of reality--there is no audience. No one to applaud, to admire. No one to see you. Do you understand?Here is the truth--actual heroism receives no ovation, entertains no one. No one queues up to see it. No one is interested."
"TV's "real" agenda is to be "liked," because if you like what you're seeing, you'll stay tuned. TV is completely unabashed about this; it's its sole raison."
"The thing about people who are truly and malignantly crazy: their real genius is for making the people around them think they themselves are crazy. In military science this is called Psy-Ops, for your info."
"The desire for perfect release and the real-world impossibility of perfect, whenever-you-want-it release had together produced a tension they could no longer stand."
"What we are going to end up with here is two nations. That will create real resentment in the workforce."
"I'm not a perfectionist at all. I find perfectionists boring because the real creative heart is in the mess somewhere."
"Choices are much more practical and small when you're dealing with a real story. It's about execution, it's not about content."
"The real issue is not if a crossing is put in, but when. It would be negligent on the part of Union Pacific and the California Public Utilities Commission to not address the problem."
"'How the West was Won' was very hard, because it was a three cameras technique, meaning three cameras wide. Therefore I wasn't speaking to my fellow performer, I was speaking to a camera, or a line next to the camera. It was difficult to do, because its not real acting. I had to pretend that I was 'seeing' Agnes Moorhead or Jimmy Stewart or Carroll Baker. I wasn't, I was acting to a drawn line. It took me personally two years to make the film, because my character starts at age 16 and I end up being 92 years old in the film. By the end of that production, I was ready for a long nap."
"The real love for somebody comes from getting to know them very well."
