It's particularly important that we reach out to everybody in our countries, those who feel disaffected, those who feel left behind by globalization and address their concerns in constructive ways as opposed to more destructive ways.
All parties attempt to represent important things that have developed outside themselves as unimportant, and where they fail in this they assail those things all the more bitterly the more admirable they are.
It's basically how I choose movie roles. Would I like to see this movie? Is this movie important? Why would I do this? And Headhunters is a movie that I would like to see in the cinema. And when it's sold to 50 countries or whatever, for me it's a great deal. I make movies for an audience so if that audience grows, I feel really honoured and thankful for it.
This neglect of a very important Brazilian writer is, in my view, the result of Brazil's relative isolation from what metropolitan tastemakers. If João Gilberto Noll were writing in French or German or even Russian, it's likely he'd be more broadly translated.
People who hold important positions in society are commonly labelled "somebodies," and their inverse "nobodies"-both of which are, of course, nonsensical descriptors, for we are all, by necessity, individuals with distinct identities and comparable claims on existence. Such words are nevertheless an apt vehicle for conveying the disparate treatment accorded to different groups. Those without status are all but invisible: they are treated brusquely by others, their complexities trampled upon and their singularities ignored.
... it's important to have the right monetary policy. It's important for, to have the right fiscal policy. But it's nowhere near as important as just the normal regenerative capacity of American capitalism.
Narrative should flow as flows the brook down through the hills and the leafy woodlands...a brook that never goes straight for a minute, but goes and goes briskly, sometimes ungrammatically, and sometimes fetching a horseshoe of ¾ of a mile around and at the end of the circuit flowing within a yard of the path that it traversed an hour before; but always going and always following at least one law, always loyal to that law, the law of narrative, which has no law. Nothing to do but make the trip; the how of it is not important, so that the trip is made.
I have won important things for myself, but I'm going to destroy them, because I tell myself they have lost their meaning. I know that is not true. I know they are important, and that if I destroy them, I'll be destroying myself, as well.