Quotes About Perception

Some people draw a line between music videos and short films, looking down on music videos as a format, but there's so much potential in music videos.

I'm certainly treated differently to the boys in the band. People make assumptions about what I do and don't do within our projects. We produce our music together and I direct and edit the music videos.

I think I like attention, but because of the way we are - because we don't have a lead singer and all the videos have so many different people in them - I think people aren't really that sure about who's in the band.

The videos have given us a younger audience. You know, our audience grew up with us until the videos, and they were beginning to get a little long in the tooth. Then the videos came along, and now we've recaptured the 16-year-old girls. The 16-year-old girls!

I think kind of what you see in the videos is true to me, if not maybe a slightly heightened version of my real self.

Are all my videos a hundred percent real? Absolutely not.

I don't like videos that explain the song. I like it to be kind of abstract, like a painting.

For my Vienna is as different from what they call Vienna now as the quick is different from the dead.

Vietnam was the first war ever fought without any censorship. Without censorship, things can get terribly confused in the public mind.

My film is not a movie; it's not about Vietnam. It is Vietnam.

Like in any relations between two countries in the world, Vietnam and the U.S. have differences on a number of issues such as perception on democracy, human rights and trade.

There's never been anything like the so-called Vietnam Syndrome: it's mostly a fabrication.

I believe Johnson understood that the reason was Vietnam. I also believe that he felt that if there was a way to communicate the real issues in Vietnam, that the reasons would be answered or understood. But there was just no way to communicate.

Any of these Vietnam vets that have been there and know the deal, they don't feel that any Hollywood endeavor about the Vietnam era has ever gotten it right yet.

To me, Columbine is just as awful as Vietnam, and it's just as awful as anything else.

When I was growing up there, North Gulfport was referred to as 'Little Vietnam' because of the perception of crime and depravity within its borders - as if its denizens were simply a congregation of the downtrodden.

In college, I actually did some work on a documentary project talking to Vietnam vets about the images of war and how it changed. When they grew up, it was like 'Sands of Iwo Jima' and there was this, you know - after Vietnam, there was a whole different way of looking at war.

Vietnam affected everything in life while it went on. My time in the service made it clear to me that what we were being told in our newspapers and newscasts, back in the States, wasn't half the story of what was really going on.

Hollywood never knew there was a Vietnam War until they made the movie.

Television and movies were our biggest teachers. When we came to the United States, the Vietnam War was just ratcheting up. And so the Asian faces that I saw on the news, they were the face of the enemy. Asian men, particularly, were either small, ineffective, or they were evil. And those messages were deeply, deeply embedded in me for many years.

The Democratic Party has been perceived to have a deficit of credibility on defense issues since the Vietnam War, unfairly or not.

In Hollywood, I was never restricted to just one Asian character. I've been cast as a Chinese, a Vietnamese, a Korean, a Japanese and a Cambodian.

It's inspiring to see Black Flag looking like Vietnamese farmers with big beards and those kind of Vietnamese farming hats showing up at a Mohawk-mania club in England and being spat at because they don't sound or look like Exploited; they sound more like Black Sabbath than Black Flag. I love that.

To put it simply, as a black man, I started watching films at the age of six, and I've since seen the bad guys changing race - between the African savages, to the Native Americans, and then the blacks and the Arabs and the Chinese and the Vietnamese. Look at 'Rambo': it's exactly that.