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I never wanted to grow a thicker skin; I felt a real sense of pride in my thin skin, and in a weird way, I still do, because it's my thin skin that allows me to empathize with other people. It's the thing that allows me to create vulnerable art. It's the thing that allows me to create other feelings and make songs that actually grab people and touch people. I feel like I've spent my life fighting that thicker skin because I don't want to become an embittered asshole.

[Comics is] one of the last havens for honesty when it comes to a reader's genuine response to art. Most of us, if we don't find any sympathy or pleasure, for example, in a modern painting, are likely to blame our own ignorance of the history and theory of painting. But nobody pretends to like a bad comic strip. Such harshness is necessary for any real truth to surface, I think, and for art to really contribute anything to life. Though I don't know. I could be wrong.

More likely, there were probably some real divisions within the Iranian government - some groups wanted to ally with al Qaeda against us, others didn't want to have anything to do with that. So I think that debate resulted in no decision being made for awhile. The problem was they left the al-Qaeda folks in Iran in the hands of their intelligence services and Revolutionary Guard, who didn't really keep an eye on them - and may not have kept an eye on them on purpose.

I buy mainly Beatles bootlegs and stuff like that. I'm hoping I can go there today. My dad buys my drawings and he re-sells them for quite a bit more and then he puts the money in my savings. I just draw all the time and he buys and I get a lot money [laughs]. It's great. My dad's my best manager I ever had. If I get richer, I'd like to be able to buy more of the real collectible Beatles things. I just need a little more money to be a higher class collector [laughs].

I think the International Criminal Court could be a threat to American security interests, because the prosecutor of the court has enormous discretion in going after war crimes. And the way the Statute of Rome is written, responsibility for war crimes can be taken all the way up the chain of command. This is the sort of investigation that some people who live in Fairyland might like to undertake, but which bears no relationship at all to conditions in the real world.

After all, what is your personal identity? It is what you really are, your real self. None of us is what he thinks he is, or what other people think he is, still less what his passport says he is. And it is fortunate for most of us that we are mistaken. We do not generally know what is good for us. That is because, in St. Bernard's language, our true personality has been concealed under the 'disguise' of a false self, the ego, whom we tend to worship in place of God.

Property is surely a right of mankind as real as liberty. Perhaps, at first, prejudice, habit, shame or fear, principle or religion, would restrain the poor from attacking the rich, and the idle from usurping on the industrious; but the time would not be long before courage and enterprise would come, and pretexts be invented by degrees, to countenance the majority in dividing all the property among them, or at least, in sharing it equally with its present possessors.

I think that's true of real life - we don't ever know anyone completely. Secrets are very important to creating a narrative work that's believable. The characters come into that world with secrets, as happens to all of us. As honest as we try to be in our relationships, we can never completely know someone. From a narrative perspective it's very important and pleasing - you want to have those secrets there. The secret is an essential part of the creation of the novel.

The mother must teach her son how to respect and follow the rules. She must teach him how to compete successfully with the other boys. And she must teach him how to find a woman to take care of him and finish the job she began of training him how to live in a family. But no matter how good a job a woman does in teaching a boy how to be a man, he knows that she is not the real thing, and so he tends to exaggerate the differences between men and women that she embodies.

Life isn't happily ever after... It's work. The person you love is rarely worthy of how big your love is. Because no one is worthy of that and maybe no one deserves that burden of it, either. You'll be let down. You'll be disappointed and have your trust broken and have a lot of real sucky days. You lose more than you win. You hate the person you love as much as you love him. But you roll up your sleeves and work - at everything - because that's what growing older is.

There is a place deep, deep inside every person that is hidden and hard to find. If things get bad enough and life gets too hard, though, some people will go to that place and never come back from it. Certainly, all outward appearances will suggest otherwise. They will look as they always did. They may even act somewhat like their old selves, but the truth is, the real truth is that they are hiding in this place deep inside where no one can touch or hurt them anymore.

People are constantly telling me, whether they are friends who feel sorry for me, because I can't find a place to live, or real estate agents, "You can't afford an apartment the size you need with this many books. Why don't you just put some of your books in storage?" And I always say the same thing: "What if I told you I had four children? Would you say, 'You just can't afford to house four children. Why don't you just put two of them in storage?'" That's how I feel.

As a German philosopher writing in the aftermath of the Nazi regime, Marcuse understood the sleep inducing force of indoctrination, its power to make people forget and forfeit their own real interests. "The fact that the vast majority of the population accepts, and is made to accept, this society does not render it less irrational and less reprehensible," he wrote. "The distinction between true and false consciousness, real and immediate interest still is meaningful."

The capacity for imaginative reflex, for moral risk in any human being is not limitless; on the contrary, it can be rapidly absorbed by fictions, and thus the cry in the poem may come to sound louder, more urgent, more real than the cry in the street outside. The death in the novel may move us more potently than the death in the next room. Thus there may be a covert, betraying link between the cultivation of aesthetic response and the potential of personal inhumanity.

I've talked to a few writers who have had childhood illnesses. The sense of convalescence - the feeling that you're waiting to become a real person - is quite an interesting thing. You're seeing all of your friends doing amazing things and you're just there, in a void, feeling a bit stupid. I wouldn't be able to say what I'd have been like without it, but maybe I'd be incredibly high-powered and successful. It also forced me to spend most of my time in my imagination.

The spiritual life is the real life; all else is illusion and deception. Only those who are attached to God alone are truly free. Only those who live up to the highest light live in harmony. All who act upon their highest motivations become a power for good. It is not important that others be noticeably affected: results should never be sought or desired. Know that every right thing you do - every good word you say - every positive thought you think - has good effect.

I respect journalism. I was always very aware of journalism from a very broad point of view, but I'd say my baptism by fire was doing the Donald Margulies play Time Stands Still. That for me was a real education because I spent a lot of time with some incredible journalists, war reporters particularly - Bob Woodruff, Dexter Filkins - people who were very helpful in painting the picture for me and reading the accounts of people and what they experienced, a lot of PTSD.

...regrettable as it may seem to the idealist, the experience of history provides little warrant for the belief that real progress, and the freedom that makes progress possible, lies in unification. For where unification has been able to establish unity of ideas it has usually ended in uniformity, paralysing the growth of new ideas. And where the unification has merely brought about an artificial or imposed unity, its irksomeness has led through discord to disruption.

Both ground- rents and the ordinary rent of land are a species of revenue which the owner, in many cases, enjoys without any care or attention of his own. The annual produce of the land and labour of the society, the real wealth and revenue of the great body of the people, might be the same after such a tax as before. Ground-rents, and the ordinary rent of land are, therefore, perhaps the species of revenue which can best bear to have a peculiar tax imposed upon them.

Worship is to feel in the heart . . . it is an attitude and a state of mind. It is a sustained act, subject to varying degrees of intensity and perfection . . . Real worship is, among other things, a feeling about the Lord our God . . . It is in our hearts. And we must be willing to express it in an appropriate manner. If we love the Lord and are led by His Holy Spirit, our worship will always bring a delighted sense of admiring awe and a sincere humility on our part.

Making a fantastical world real is a bit of a challenge, for sure. When you're on set and you have a green screen you're working with where you'll pretend there's a giant lizard chasing you when there's nothing there. Being shown the images of what the creatures were going to look like and then having to react to them realistically without feeling like you're a crazy person. You kind of have to go for it. In order to sell it to the audience, you can't really hold back.

I remember in the Carpenter version, you got acquainted with the characters and really knew them. It was a real character piece. Each actor was serviced in the movie, and we tried to do that in this movie as well. I like the fact that there was a European, first-time director. I'd known of him because I'm from Europe. I knew him as a commercial director and thought one of his commercials was great. I thought it was an interesting take on such a big-budget cult classic.

Dr. Leonard Shlain, chairman of laparoscopic surgery at California Pacific Medical Center, said they took some four and five year-olds and gave them video games and asked them to figure out how to play them without instructions. Then they watched their brain activity with real-time monitors. At first, when they were figuring out the games, he said, the whole brain lit up. But by the time they knew how to play the games, the brain went dark, except for one little point.

In ancient times there was no public education, except that of the forum, the theater, and the street, and the general degree of illiteracy was very high. The early men of science were left very much to themselves and such a phrase as "the scientific culture of Alexandria in the third century B.C." does not cover any reality. In a sense, this is still true today; the real pioneers are so far ahead of the crowd (even a very literate crowd) that they remain almost alone.

Don't you understand anything? Isn't it absolutely essential to keep a fierce Left and a fierce Right, both on their toes and each terrified of the other? That's how we get things done. Any opposition to the N.I.C.E. is represented as a Left racket in the Right papers and a Right racket in the Left papers. If it's properly done, you get each side outbidding the other in support of us-to refute the enemy slanders. Of course we're non-political. The real power always is.

When my family moved from Ireland in the 70s, Britain was such a difficult place to be Irish. It was a decade of real social and economic upheaval in Britain. There were strikes, the three-day week, the oil crises, huge inflation, the winter of discontent and, what was it, four Prime Ministers? And relations between Britain and Ireland at that time were at an all-time low. I was born in the year of Bloody Sunday and of course the pub bombings happened in the mid-1970s.

I shall never get out of this! There are two of me now: This new absolutely white person and the old yellow one, And the white person is certainly the superior one. She doesn't need food, she is one of the real saints. At the beginning I hated her, she had no personality- She lay in bed with me like a dead body And I was scared, because she was shaped just the way I was only much whiter and unbreakable and with no complaints. I couldn't sleep for a week she was so cold.

I don't know what Bruce Willis has done in real life. We know actors have certainly had tirades - that's for sure. I never had troubles with him, but the big issue is really less about what Bruce is, as opposed to - this behavior has taken place, and sometimes it came out at something that had credibility, as opposed to, "No, I want to be fat and have a beard." Other people say, "I don't give a damn about the credibility. I paid $20 million. I want to see a movie star."

The hardest part of being a Christian is surrendering and that is where the real struggle happens. Once we have overcome our own desire to be elevated, our own desire to be recognized, our own desire to be independent and all those things that we value very much because we are Americans and we are part of this American culture. Once we have overcome that struggle then God can use us as a part of His body to accomplish what the body of Christ was left here to accomplish.

I want you to stop running from thing to thing to thing, and to sit down at the table, to offer the people you love something humble and nourishing, like soup and bread, like a story, like a hand holding another hand while you pray. We live in a world that values us for how fast we go, for how much we accomplish, for how much life we can pack into one day. But I'm coming to believe it's in the in-between spaces that our lives change, and that the real beauty lies there.

We come to the New Testament, where again a host of imperative verbs is mustered in support of that miserable bondage of free-choice, and the aid of carnal Reason with her inferences and similes is called in, just as in a picture or a dream you might see the King of the flies with his lances of straw and shields of hay arrayed against a real and regular army of seasoned human troops. That is how the human dreams of Diatribe go to war with the battalions of divine words.

What a wee little part of a person's life are his acts and his words! His real life is led in his head, and is known to none but himself. All day long, the mill of his brain is grinding, and his thoughts, not those of other things, are his history. These are his life, and they are not written. Everyday would make a whole book of 80,000 words -- 365 books a year. Biographies are but the clothes and buttons of the man -- the biography of the man himself cannot be written.

Our modern lifestyle is not a political creation. Before 1700, everybody was poor as hell. Life was short and brutish. It wasn't because we didn't have good politicians; we had some really good politicians. But then we started inventing - electricity, steam engines, microprocessors, understanding genetics and medicine and things like that. Yes, stability and education are important - I'm not taking anything away from that - but innovation is the real driver of progress.

It's quite simple really. Being always transcends appearance-that which only seems to be. Once you begin to know the being behind the very pretty or very ugly face, as determined by your bias, the surface appearances fade away until they simple no longer matter. That is why Elousia is such a wonderful name. God, who is the ground of all being, dwells in, around, and through all things-ultimately emerging as the real-and appearances that mask that reality will fall away.

At the risk, then, of being shunned by some of my gloomier peers, I venture to tell you that writers work like demons, suffer greatly, and are also happy, in unmistakable ways, some of the time. If we had no knowledge of happiness, our novels wouldn't sufficiently resemble real life. Some of us are even made a little bit happy, on occasion, by the writing process itself. I mean, really, if there wasn't some sort of enjoyment to be derived, would any of us keep doing it?

There's always room. That's what the directors usually want. They want the performer to bring themselves and give what they have to give for the role. The smart ones allow that to happen because then it becomes even more organic within the performer's imagination. It becomes even more real. It's not always a given in other films, but when Gunn works, and we all work together in a collaborative way like that, it becomes a given that you bring it. It becomes a lot of fun.

Always was Morocco. And recently the country's leadership seems to have embraced it in all its ill-reputed glory. The days of predatory poets in search of literary inspiration and young flesh are probably over for good. Hippies can just as easily get their bong riffs in Portland or Peoria. But the good stuff, the real good stuff, the sounds and smells and the look of Tangier -- what you see and hear when you lean out the window and take it all in -- that's here to stay.

One of the evils of paper money is that it turns the whole country into stock jobbers. The precariousness of its value and the uncertainty of its fate continually operate, night and day, to produce this destructive effect. Having no real value in itself it depends for support upon accident, caprice, and party; and as it is the interest of some to depreciate and of others to raise its value, there is a continual invention going on that destroys the morals of the country.

When you need to be loved, you take love wherever you can find it. When you are desperate to be loved, feel love, know love, you seek out what you think love should look like. When you find love, or what you think love is, you will lie, kill, and steal to keep it. But learning about real love comes from within. It cannot be given. It cannot be taken away. It grows from your ability to re-create within yourself, the essence of loving experiences you have had in your life.

But remember, for all your adult life you'll be a woman. And how you live your life as a woman, all by yourself before God, is what makes the real you. Nothing on the exterior can touch or change that precious inner sanctuary -- your heart, His dwelling place -- unless you let it. And God, who loves you very much, has tailor made all your outer life -- your circumstances, your relationships -- to pressure you into becoming that beautiful woman He's planned for you to be.

Now the story of Christ is simply a true myth: a myth working on us the same way as the others, but with this tremendous difference that it really happened: and one must be content to accept it in the same way, remembering that it is God’s myth where the others are men’s myths: i.e., the Pagan stories are God expressing Himself through the minds of poets, using such images as He found there, while Christianity is God expressing Himself through what we call 'real things'.

The gospel is unintelligible to most people today, especially in the West, because their own particular stories are remote from the story of creation, fall, redemption, and consummation that is narrated in the Bible. Our focus is introspective and narrow, confided to our own immediate knowledge, experience, and intuition. Trying desperately to get others, including God, to make us happy, we cannot seem to catch a glimpse of the real story that gives us a meaningful role.

The incomparable James Walvin has done it again: he has crafted a beautifully written and deeply informed single volume history of the Atlantic slave trade and its consequences on three continents. This book is full of fresh ideas and astounding detail; it is at once great storytelling, punctuated with real people and voices, and an unblinking analysis of numerous great questions and paradoxes about the power of slavery in creating the Atlantic world over four centuries.

You can't teach anyone. You can't tell anyone. That's the thing you have to sit down and experience in order for it to mean anything. You can't intellectualize it. It's like why movies are cool. It's a combination of pictures and design and acting and music can create an experience that is outside of the experience that you can actually have in reality, which gets to my motion picture philosophy. People are like, 'aren't you trying to make the movies as real as you can?'

I was really blown away and inspired by everything that she [Audrey Hepburn] had done for children via and through UNICEF and I guess it really, really floored me in a way that I hadn't ever felt toward a public figure before. To see her kindness was inspiring and spoke to me as a person. She was so real and so elegant..I am also inspired by what Angelina Jolie is doing by traveling to places like Cambodia to help children by actually being there and being more involved.

Even if we could grow our way out of the crisis and delay the inevitable and painful reconciliation of virtual and real wealth, there is the question of whether this would be a wise thing to do. Marginal costs of additional growth in rich countries, such as global warming, biodiversity loss and roadways choked with cars, now likely exceed marginal benefits of a little extra consumption. The end result is that promoting further economic growth makes us poorer, not richer.

People said that video games were bad because they made you numb to death, made you register entrails splattering across a screen as a sign of success. In that moment, Val thought that the real problem with games was that the player was suppossed to try everything. If there was a cave, you went in it. If there was a mysterious stranger, you talked to him. If there was a map, you followed it. But in games, you had a hundred million billion lives and Val only had this one.

Who I am on stage is very, very different to who I am in real life. But I don't see that having a sexy image when you are on stage means that you don't love God. No one knows what I'm really like from that. I like to walk around with bare feet and I don't like to comb my hair. I'm always so glammed up and so diva on stage and that's what they see. People don't understand that... No one knows my personal relationship with God and it's not up to me to prove that to anyone.

There is no real scientific debate over what is happening; of course there is debate over exactly how it is going to play out in the decades ahead, because this is a large experiment that we haven't done before, and no one knows precisely how one can ever precisely predict what effects this heat will have. But all the science in the last few years, or almost all of it, really serves to show that the effects are larger and more rapid than we had thought even a decade ago.

Are there still other possibilities? Of course there are. What is important to recognize is that all three historical options are really there, and the choice will depend on our collective world behavior over the next fifty years. Whichever option is chosen, it will not be the end of history, but in a real sense its beginning. The human social world is still very young in cosmological time. In 2050 or 2100, when we look back at capitalist civilization, what will we think?

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