"I've always been most interested in the politics of everyday life: your relation to whatever you're doing, or what your ambitions are, where you live, where you find yourself in the social hierarchy"
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Linklater’s politics aren’t the kind that show up as podium speeches or plot-twist villains; they’re the kind embedded in a lease, a work schedule, a friend group, a city you can no longer afford. By calling it “the politics of everyday life,” he’s quietly rejecting the prestige version of political art that announces its themes in bold type. His wager is that power is most legible at human scale: in how you spend your hours, what you think you’re allowed to want, and how your surroundings shape your sense of possibility.
The phrasing matters. “Your relation to whatever you’re doing” frames labor and identity as a negotiation, not a given. “Ambitions” aren’t treated as pure self-expression but as socially edited desires, calibrated against class, education, and luck. “Where you live” reads like a simple biographical detail until you hear the contemporary subtext: zoning, segregation, gentrification, the slow violence of being priced out. Then he lands on “social hierarchy,” naming the structure that most people feel before they can articulate it.
This is Linklater’s entire filmography in miniature: long conversations, drifting time, characters in motion but also stuck, the sense that “choice” is never just personal. He’s arguing that the most radical camera move is attention - sustained, patient, unsensational - because attention reveals the system people swim in while insisting they’re simply living.
The phrasing matters. “Your relation to whatever you’re doing” frames labor and identity as a negotiation, not a given. “Ambitions” aren’t treated as pure self-expression but as socially edited desires, calibrated against class, education, and luck. “Where you live” reads like a simple biographical detail until you hear the contemporary subtext: zoning, segregation, gentrification, the slow violence of being priced out. Then he lands on “social hierarchy,” naming the structure that most people feel before they can articulate it.
This is Linklater’s entire filmography in miniature: long conversations, drifting time, characters in motion but also stuck, the sense that “choice” is never just personal. He’s arguing that the most radical camera move is attention - sustained, patient, unsensational - because attention reveals the system people swim in while insisting they’re simply living.
Quote Details
| Topic | Equality |
|---|---|
| Source | Help us find the source |
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