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“In the same way, now, the house is filled with something else. It moves, restless. It does not say words but it breathes. I want to know it, and I don’t know why.”
— Carmen Maria Machado, “Eight Bites,” Her Body and Other Parties (via silksaturn)
“I told Miyazaki I love the “gratuitous motion” in his films; instead of every movement being dictated by the story, sometimes people will just sit for a moment, or they will sigh, or look in a running stream, or do something extra, not to advance the story but only to give the sense of time and place and who they are. “We have a word for that in Japanese,” he said. “It’s called ma. Emptiness. It’s there intentionally.” Is that like the “pillow words” that separate phrases in Japanese poetry? “I don’t think it’s like the pillow word.” He clapped his hands three or four times. “The time in between my clapping is ma. If you just have non-stop action with no breathing space at all, it’s just busyness, But if you take a moment, then the tension building in the film can grow into a wider dimension. If you just have constant tension at 80 degrees all the time you just get numb.””
—
Rogert Ebert, on Hayao Miyazaki
(Also applicable for improv.)
“Your voice, he interrupted, is also like a cicada […] Do you know the legend about cicadas? They say they are the souls of poets who cannot keep quiet because, when they were alive, they never wrote the poems they wanted to.”
— John Berger, from G.: A Novel (Weidenfeld and Nicolson, 1972)(via soracities)
“I have led a toothless life, he thought. A toothless life. I have never bitten into anything. I was waiting. I was reserving myself for later on—and I have just noticed that my teeth have gone.”
— Jean-Paul Sartre, The Age of Reason