Revolution (2014)
Russell Brand: Likeness
Russell Brand is British comedian, actor, and author. Explore interesting quotes on likeness.Revolution (2014)
Revolution (2014)
Context: For me, it’s standard. I don’t feel irresponsible for telling kids not to vote; I feel like I deserve a Blue Peter badge for not telling them to riot. For not telling them that they are entitled to destroy the cathedrals of tyranny erected to mock them in the heart of their community. That they should rise up and destroy the system that imprisons them, ignores them, condemns and maligns them. By any means necessary.' I might also note that I think it unlikely that people aren’t voting because I told them not to; it is more likely that they’re not voting because they are subject to the same conditions that led me not to vote.
Revolution (2014)
Context: Diablo and I fashioned my beard together in my trailer, together, as cautiously as you’d sculpt a peace treaty between two nations that prefer war to peace. The reality was that my identity outside of filmmaking had become more important to me. I was doing hours of yoga and meditation each day, I was going through a divorce, and the result was a kind of hirsute intransigence. I looked like the cliché of a terrorist and I behaved like one. Except the beard wasn’t the symbol, it was the cause. I feel some guilt about my lack of enthusiasm for acting, like it’s a bit ungrateful. Like I’ve let my teenage self down. Mind you, he let himself down a fair bit, the dirty little pervert. The dreams of my adolescent self were entangled with silvery screens and limousines, and I still feel that I need to offer up superficial sacrifices to his misguided altar. The fact is, though, I find filmmaking a boring process and its ends dubious. This could, of course, be due to the quality of the stuff I’ve done so far, as opposed to an essential rejection of an art form. Maybe if I’d been “R. P. McMurphy” or “The Elephant Man” or “Brian,” I’d feel different. It just wasn’t what I thought it would be. It’s not just the entertainment industry that has seemed like a mirage on arrival. What about clubs and parties? When I’m there I think, “Is this it? Is this all there is? Is this what all the fuss is about?” This feeling of disillusionment perhaps climaxed around the time of my divorce and the making of this subsequent film.
Revolution (2014)
Context: Who does a baby think he is before he can recognize his face in a mirror, before he’s taught his name, before he’s drummed into stagnant separation, cordoned off from the infinite oneness? Love is innate. We must be taught to hate, and now we must unlearn it, as the Buddhists say; let it burn, that which needs to burn, let it burn. The class system isn’t fair on them either, poor little sods—packed off to school, weaned on privatized maternity shopped in from a northern spinster. Trying to find love in the tangle of dismantled family. No one can be happy imbibing a poisoned brew. It’s poisonous for us all. They’ll gratefully sigh when we unlock them from their opulent penitentiaries, they’ll be grateful when their fallow lords and empty chambers feed the hungry and house the poor. They know contentment cannot be enjoyed when stolen. They need the Revolution as much as we do. The whole of human history is nothing new, the whole of your personal story is nothing true, you can do with it whatever you want to do—flick a switch, scratch the record off, look behind the veil. Anything you don’t want, discard; anything that hurts, let go. None of it’s real, you know—all that pain, all that regret, all that doubt, not thin enough, not a good enough mum, not a good enough son, not a good enough bum. You are enough; you’re enough; there’s nothing you can buy or try on that’s going to make you any better, because you couldn’t be any better than you are. Drag your past around if you like, an old dead decaying ox of what you think they might’ve thought or what might’ve been if you’d done what you ought. That which needs to burn, let it burn. If the idea doesn’t serve you, let it go. If it separates you from the moment, from others, from yourself, let it go.
Revolution (2014)
Context: How did it feel in there to you when you were a child, in the aquarium of your head? I was lonely in mine as the world swam by in immaculately choreographed schools, like an inaccessible gang of Nemos. I was only really at ease with my mum and animals, and I treated them pretty badly. If you feel how I felt, I have been taught a few techniques that might help you. Here’s one for a kick-off: You have to forgive everyone for everything. You can’t cling on to any blame that you may be using to make sense of the story of your life. Even me with my story of one nan that I love and another that I don’t—that story is being used to maintain a certain perspective of mine, a perspective that justifies the way I am, and by justifying the way I am I ensure that I stay the same. I’m no longer interested in staying the same; I’m interested in Revolution, that means I have to go back and change the story of my childhood.
Revolution (2014)
Context: The women sway and jump and shriek. Whilst this is all almost entirely foreign, there is something familiar, like a place in your mouth where food always gets caught. Something I recognize. It is orgiastic. This Christianity with a voodoo twist is on the brink of Dionysian breakdown. Through this ritual, I see the root of ritual. The exorcising of the primal, the men engorged, enraged, the women serpentine and lithe. Only the child excluded. I get on my knees, which a few other people are doing, out of respect but also because I’m beginning to sense that it’s only a matter of time before I’m ushered to the front. I’ve not been taught how to be religious. Religious studies at school doesn’t even begin to cover it. There the world’s greatest faiths and the universe’s swirling mysteries are recited like bus timetables. No teacher of RE ever said to me: “Beyond the limited realm of the senses, the shallow pool of the known, is a great untamable ocean, and we don’t have a fucking clue what goes on in there.” What we receive through sight, sound, smell, taste, and touch is all we know. We have tools that can enhance that information, we have theories for things that we suspect lie beyond that information, filtered through an apparatus limited once more to those senses. Those senses are limited; the light range we detect is within a narrow spectrum, between infrared light and ultraviolet light; other species see light that we can’t see. In the auditory realm, we hear but a fraction of the sound vibrations; we don’t hear high-pitched frequencies, like dog whistles, and we don’t hear low frequencies like whale song. The world is awash with colors unseen and abuzz with unheard frequencies. Undetected and disregarded. The wise have always known that these inaccessible realms, these dimensions that cannot be breached by our beautifully blunt senses, hold the very codes to our existence, the invisible, electromagnetic foundations upon which our gross reality clumsily rests. Expressible only through symbol and story, as it can never be known by the innocent mind. The stories are formulas, poems, tools for reflection through which we may access the realm behind the thinking mind, the consciousness beyond knowing and known, the awareness that is not connected to the haphazard data of biography. The awareness that is not prickled and tugged by capricious emotion. The awareness that is aware that it is aware. In meditation I access it; in yoga I feel it; on drugs it hit me like a hammer—at sixteen, staring into a bathroom mirror on LSD, contrary to instruction (“Don’t look in the mirror, Russ, it’ll fuck your head up.” Mental note: “Look in mirror.”). I saw that my face wasn’t my face at all but a face that I lived behind and was welded to by a billion nerves. I looked into my eyes and saw that there was something looking back at me that was not me, not what I’d taken to be me. The unrefined ocean beyond the shallow pool was cascading through the mirror back at me. Nature looking at nature. Not me, little ol’ Russ, tossed about on turbulent seas; these distinctions were engineered. On acid, these realizations are absolute. The disobedient brain is whipped into its basket like a yapping hound cowed by Cesar Millan.
“Cilla Black: What are you like?
Russell: A bit like Jesus but with an electric willy.”
Radio 2 Show (2007–2008)
Radio One Interview, July 5th 2007
Revolution (2014)
Revolution (2014)
Revolution (2014)
“I don't like doing anything that makes you sweat if you don't come at the end of it.”
Russell Brand - On The Road (2007)
Revolution (2014)
Radio 2 Show - 13th January 2007
Radio 2 Show (2007–2008)