Deborah Eisenberg Quotes

I don't think you can ever be ahead of your time with cynicism about that subject. No, I don't think it was ahead of its time. I think it was very much a product of its time.

We may not like our times or many aspects of the time we live in but that is not the fault of art as such.

I think it speaks to people in 2015, right now. We address real situations. It's real life! Everything that happens in 'Dope' could happen today.

The modern form of things had begun to appeal to me, also (as material for satire) politics, and the lives of the great and little, high up in the social scale.

It was interesting to find how dominating American vision is all over the world. I think there's something to be said about the world's mindset and its economics and all of that, and I think it affects the way we see ourselves and it affects music.

I never write something and consciously embed political commentary or any other kind of commentary. I just try to get the characters into a room or out of a room, or onto the plane, or through the grocery store. The political stuff, the class stuff, the gender stuff, is in the air, it's in their interactions, because it's there for all of us.

Ideologies are ways of organizing large swaths of life and experience under a set of shared but unexamined assumptions. This quality makes an ideology particularly hard to see, at least while it's exerting its hold on your culture. A reigning ideology is a little like the weather: all pervasive and virtually inescapable.

It's an artist's duty to reflect the times in which we live.

With 'Downsizing,' a lot of the discussion hasn't been about the film itself, but about cultural and political conversations happening outside of it. It's being digested in the context of the time.

It's interesting how thrillers reflect the times we live in.

'Line of Duty' is a social realist drama, so it's set in a world that has the recognisable features of the authentic world we see around us.

I always try to relate a song to something what is going on, the working man, the times, how life goes.

My work is about the world I live in. So, I sort of make a picture of my life or our lives. I'm always looking for something that is overlooked, so I need to constantly be aware of what's going on.

From jazz, the blues, country and rock to Hollywood movies, culture has in many ways been our greatest export (or our most obnoxious one, depending on your point of view).

I really want to do what 'Veep' did. 'Veep,' in a very comical way, gave us a look inside the political machine, but I want to do it for the average American family.

Social realism takes research.

For the world's four Chinese-speaking regions - Taiwan, Singapore, Hong Kong and mainland China - the longer the colonization, the more advanced a place is.

The only serious function films can serve is to act as a record of their times.

Not everybody gets to travel halfway around the world to see a whole different perspective. If we can see that on TV, we'll know that society is bigger than the small world we all live in.

It's easier to make art for a society at a certain point in time with an understanding of what's going on.

The minute we became a global society, especially now that we're all connected up with the Internet, people wanted to believe in something a little more interesting than their earthbound lives.

In human geography, we think about landscapes as being political, social, cultural, economic, and physical things all at the same time. And that's the way that I wanted to approach the question of state secrecy.

I'm getting less and less interested in the problems of youth. I'm much more interested in the idea of emotional paralysis, and I find myself less interested in work that doesn't have anything to do with a conversation about the world.

There's something unique about coming of age in 2015 with the way the world is.

My music reflects the time on which we live, both in terms of arrangements, as well as in the subjects treated in the lyrics.