Until we Dream of Life and Life becomes a Dream.
When I wrote my fictional novels, they always had a starting point of something real. Those images that are not real are exactly the same strength and power of the real ones, and the line between them is completely blurred.
Guerrilla ontology The basic technique of all my books . Ontology is the study of being; the guerrilla approach is to so mix the elements of each book that the reader must decide on each page 'How much of this is real and how much is a put-on?
There is no real reality to a really imagined life any more.
Something I found while writing 'Alice & Oliver' - a book that is unquestionably a work of fiction, but which also borrows details from my own life - is that writing the truth often requires invention and imagination.
I like to mix the real and the imaginary. Sometimes it is characters inspired by real people I know or know of. Sometimes it is a named person from the common cultural dreamscape. And it is tricky, because they have a lot of associated ideas that come with them, and a lot of actual facts.
It's not as if the stories merge to a point where you think they are your life, but you do let them in the front door and the back door, and it's okay that sometimes certain characters stay for dinner.
It happened on 'Laguna Beach' where you don't know what's real and fake, and I saw cast members who couldn't distinguish what was real and what was fake anymore. It was kind of scary to see, so I kept them very separate so that I didn't go crazy.
In the end dreams became his life, and his whole life thereafter took a strange turn: one might say he slept while waking and watched while asleep.
I have a split - of my real home-life side that's real-life, and then the creative side that is not necessarily real-life, but it intersects my real-life so much.
We live in a culture that has a real hard time distinguishing fiction from reality. Even when they're told something is fiction.
I had to keep reminding myself in 'Blue Valentine' that I was actually making a film.
What interests me about fiction is, in part, its flickering edge between realism and where a tear in the fabric of a story lets in some other sort of light.
Realism is a bad word. In a sense everything is realistic. I see no line between the imaginary and the real.
From such a young age, I was raised and have raised myself on film to such an extent, that it has sometimes bled into my reality. There are times I've felt very Mulholland Drive, where people's dream worlds overlap with each other.
As the Internet of things advances, the very notion of a clear dividing line between reality and virtual reality becomes blurred, sometimes in creative ways.
Henry is entirely invented though by now I feel he's as real as anyone I know.
I feel that my dreamscapes are part of my everyday life, and sometimes I can't tell the difference.
I've played in front of a hundred thousand people and it's easy for me to squint my eyes and blur my vision and then all the people just turn into a giant piece of pizza or something. Everyone becomes one, you know.
At first, all is black and white. Black on white. That's where I'm walking, through pages. These pages. Sometimes it gets so that I have one foot in the pages and the words, and the other in what they speak of.
