Quotes of All Topics . Occasions . Authors
I have yet to meet very many people in the press who are really, truly interested in writing a good story or getting at the truth. Most press people, when they come into an article, have an angle that they want already, so they need points to support that angle, whatever the angle may be.
We often talk about this VAR, this new technology. It's very important new technology. On the pitch maybe it's not clear. You cannot see... maybe from another angle in front of the TV it's much more clear. But it's, as always, football. It's easy to be much more polemic about this and that.
The moral angle to the foreclosure crisis - and, of course, in capitalism we're not supposed to be concerned with the moral stuff, but let's mention it anyway - shows a culture that is slowly giving in to a futuristic nightmare ideology of computerized greed and unchecked financial violence.
I think that the point of being an architect is to help raise the experience of everyday living, even a little. Putting a window where people would really like one. Making sure a shaving mirror in a hotel bathroom is at the right angle. Making bureaucratic buildings that are somehow cheerful.
Every angle acknowledges that it is a likeness of true angularity, for [each angle] is angle not insofar as angle exists in itself but insofar as angle exists in something else, viz., in a surface. And so, true angularity is present in creatable and depictable angles as in a likeness of itself.
The success that Americans are said to worship is success of a specific sort: accomplished not through hard work, primarily, but through the ingenious angle, the big break. Sit down at a lunch counter, stand back up a star. Invest in a new issue and watch it soar. Split a single atom, win a war.
Writing for children, you do bear a responsibility to not include overt or graphic adult content that they are not ready for and don't need, or to address adult concepts or themes from an oblique angle or a child's limited viewpoint, with appropriate context, without being graphic or distressing.
Realism is always subjective in film. There's no such thing as cinema verite. The only true cinema verite would be what Andy Warhol did with his film about the Empire State Building - eight hours or so from one angle, and even then it's not really cinema verite, because you aren't actually there.
I am always in self-doubt... every moment of my filmmaking. I am supremely confident when the story is being written and everything is in our head. But the moment we get into the filmmaking, I start doubting myself - from the camera angle to the re-recording to getting the actors to do their shots.
There is some level on which this life must occasionally become repugnant and unappetizing to you and you must step back from it. And then you have a new relationship with it, and then you step back into it from a different angle - with a new appetite - and then you find the next leg of your journey.
I obviously identify with the anti-authority figure. I've pretty much always had problems with authority, ever since I was a kid. But, yeah, it's not identifying, I think it's more a part of my natural DNA that I question anybody who has a plan. Everybody's got to have an angle; that's the way I grew up.
One thing that's really important for me to be creatively motivated is to find an angle. Some people refer to that as a concept, which it is, in a sense, but not overtly. It's just something I need to focus and hone in on, and the trajectory of what might be seen as a 'concept' gives me creative momentum.
For a period of time, I carried cameras with me wherever I went, and then I realized that my interest in photography was turning toward the conceptual. So I wasn't carrying around cameras shooting stuff, I was developing concepts about what I wanted to shoot. And then I'd get the camera angle and do the job.
One of the reasons why I think virtual reality, as a narrative format, is never going to go beyond the short-form immersion space is because the bedrock of visual storytelling is the reverse angle. If you can't look into the eyes of the protagonist, you cannot hold people's attention for more than 15 minutes.
I've always loved fashion and, of course, enjoyed my experiences walking on runways, but I love watching the shows as well! Now I understand more why it's such a big deal for the industry and why people work so hard before and during fashion weeks. It's interesting to see the same things from a different angle.
With moviemaking, the audience always has to keep asking, 'What happens next?' If you have the wrong piece of music over a scene, people aren't going to get the scene. If you have the wrong camera angle, people aren't going to pay attention. That's as much a part of the process as getting people to talk to you.
It can't hurt to go to the people you love, whose blood type courses through your veins and whose DNA, from a certain angle, contains many of the same markings as yours. You don't have to take their advice, but let them share their version of solutions to life's difficulties. Good or bad - it could be interesting.
The message films that try to be message films always fail. Likewise with documentaries. The documentaries that work best are the ones that eschew a simple message for an odd angle. I found that one of the most spectacular films about the Middle East was 'Waltz With Bashir,' or 'The Gatekeepers,' or '5 Broken Cameras.'
The rise of the Tea Party, along with the emergence of Christine O'Donnell in Delaware, Sharron Angle in Nevada, Carl Paladino in New York and Ron Paul in Kentucky, is not the first time in American history that voters have responded to hard economic times by supporting angry, unorthodox Senate and gubernatorial candidates.
When I turn on the news in Paris, the way Syria is covered is different from the way it is covered in Washington, D.C., or London. Even in Western society, where we hold all the values of democracy and freedom of speech, as soon as you point a camera in a particular direction, there is an angle - literally and figuratively.
FDR had a certain charisma, at least in his first term, with the big grin, the cigarette holder at a jaunty angle, and the battered hat on his imposing head, but no other American president since then has had it except JFK - indeed, some of them have been positively anti-charismatic, like Gerald Ford, Carter, and the Bushes.
Since retiring, there's only been one time I actually dreamed about wrestling. In my dream, I was wrestling against Kurt Angle. I had him clamped in a headlock. I was breathing hard, and I remember telling myself, 'This is only a dream. It's not real.' But the longer I held Kurt in a headlock, I started to believe it was real.
Writing does produce a very unique satisfaction. There are times when I'm writing that it's frustrating or appalling or difficult, but when it goes well, it goes really well, and there is a feeling of rightness, like I'm doing the thing I was meant to do, almost in a mystical way, like I'm at an appropriate angle to the world.
My first job in Brazil was actually to develop a way to improve the readability of billboards, and based on speed, angle of approach and actually blocks of text. It was very - actually, it was a very good study, and got me a job in an ad agency. And they also decided that I had to - to give me a very ugly Plexiglas trophy for it.
To have a record crowd for What Culture, to be in there with Kurt Angle and not to be just, like, Kurt Angle plus garnish, for it instead to be Kurt Angle v. Cody Rhodes, our second match, actually - it was very vindicating. It's also nice, you know: the greatest revenge in all the world is success, so it's nice to be vindicated.
Kurt Angle, I knew he was from Pittsburgh and I knew his background very well and his amateur days and, of course, going to the Olympics and all that. When he went into professional wrestling, he was very good at adjusting and displaying a lot of great moves. It was something that the fans could look at a say, hey, that's wrestling.
Before the web and these highly focused entities, journalists got to decide what was important to tell their audience and educated their readers. Now, journalists have to try and understand what their consumer actually wants to read and what angle they are looking for in order to keep audiences engaged in a highly competitive world.
I feel that we, as Indians, have a knack for loving a stereotypical, sobbing, sympathy-seeking personality. I feel that we need to promote quirky, cool and youthful talent. We have to stop propagating the sob-story angle of celebs, where they try to be larger-than-life. That is very outdated. It is so boring that it puts you to sleep.
We wake up and go to sleep with ourselves every single day. We see ourselves in the mirror from every angle. We know what we look like. We know what makes us happy about our bodies and what upsets us. And we don't need to value the opinions of others at all - especially from people who that we don't even know, or that we don't care about.
British actors come at acting from a slightly different angle. Because a lot of the films are cast out there, they are so used to the angle from which the Americans, and certainly the young guys from L.A., are coming at it, that I think it's interesting for them to find these English actors who maybe approach acting from a different place.
I've obviously used fans - I wouldn't say all my life, because we couldn't afford them when I was young, but from my 20s and onwards we've had to use fans. And I've always loathed them. Everything about them. The way you adjust them, getting them at the angle you want. Carrying them. Cleaning them. The danger of putting your finger in them.
