JASON SILVA: There was a great scene
in a movie about these two brothers
that wished to become writers.
We start learning about the story of their unfolding lives,
the drama of their every day.
One of the guys falls in love, and then
his girlfriend commits suicide; something utterly tragic
erupts in his life.
And then the film continues, and, all of a sudden,
there's a scent that shows him frantically writing down.
And the narrator tells us he felt guilty
over the creativity triggered by his lover's death.
This notion that tragedy can lead to breakthrough,
can lead to rebirth, that the instances of suffering
in our lives can actually inspire
us to make beautiful art is a sort of paradoxical ecstasy,
that we can take our wounds, and we can turn them into something
larger, that we need not have suffered in vain game
is a wild idea, because it doesn't mean that we
are happy for our suffering.
It doesn't mean that we wished for these tragic things
to happen to us as artists, but it
means that we're able to take that pain,
take that aching rhapsody and output something in the world
and make a contribution.
Because at least that way, we validate the fact
that we exist.
We affirm ourselves.
We have no choice but to do so.
In the face of entropy, in the face of death,
to not say that we exist is to not live at all.