You really have to bring your game and know what you want to do. And then, there are the producers and the writers and the director on the other side of the glass, and what they want. You have to be malleable to what's going to work, and you have to stay in the framework of the context.
The moth don't care when he sees the flame
He might get burned, but he's in the game
And once he's in, he can't go back
He'll beat his wings till he burns them black
No, the moth don't care when he sees the flame
The moth don't care if the flame is real
'Cause flame and moth got a sweetheart deal
And nothing fuels a good flirtation
Like need and anger and desperation
No, the moth don't care if the flame is real.
The rule of the game was never assume that anybody, however honorable, would be able to stand up under torture. If Mr. X, who knew where I was, was caught for some reason, I should move.
But other people also 'invite' us to behave like victims, when they complain about the unfairness of life, for example, and ask us to agree, to offer advice, to participate. Be careful. When you join in that game you always end up losing.
This might sound masochistic or narcissistic‚ I don't know‚ but when I'm not playing the game‚ the validations I feel about life are always through the hardships. I relate more to sadness‚ in a lot of ways‚ when I'm not playing.
Yet again, the more you strive for some kind of perfection or mastery—in morals, in art or in spirituality—the more you see that you are playing a rarified and lofty form of the old ego-game, and that your attainment of any height is apparent to yourself and to others only by contrast with someone else's depth or failure.