“We live in a dark and romantic and quite tragic world.”

Darkness, p. 91
Catching the Big Fish (2006)
Context: People have asked me why — if meditation is so great and gives you so much bliss — are my films so dark, and there's so much violence?
There are many, many dark things flowing around in this world right now, and most films reflect the world in which we live. They're stories. Stories are always going to have conflict. They're going to have highs and lows, and good and bad.
I fall in love with certain ideas. And I am where I am. Now, if I told you I was enlightened, and this is enlightened filmmaking, that would be another story. But I'm just a guy from Missoula, Montana, doing my thing, going down the road like everybody else.
We all reflect the world we live in. Even if you make a period film, it will reflect your times. You can see the way period films differ, depending on when they were made. It's a sensibility — how they talk, certain themes — and those things change as the world changes.
And so, even though I'm from Missoula, Montana, which is not the surrealistic capital of the world, you could be anywhere and see a kind of strangeness in how the world is these days, or have a certain way of looking at things.

Light (1919), Ch. XXII - Light

Source: Something More, A Consideration of the Vast, Undeveloped Resources of Life (1920), p. 83
Context: The most tragic waste... is in the spiritual lives of men. Men who have the capacity for sonship and brotherhood are living as aliens and enemies, men who have the capacity for companionship are living as hermits, men who have the capacity for mighty victories are living as helpless slaves, men who have the capacity for service are living as parasites. Man is only a small fraction of what he might be.

Source: Goddess of Light

The Monthly Magazine

Source: The Silence of the Lambs