Quotes of All Topics . Occasions . Authors
Underground comics were striking in that they seemed largely unedited - in a typical book, with stories by five to ten creators, some stories would be shockingly bad, and others would be startlingly brilliant. This was a lively and exciting combination. The artwork and stories, good and bad, were all so different - I'd stare at the pages and lose track of time. This was a world where anything could happen, and I wanted to go there.
I like to work with people of different cultures, different points of view. But yeah, I feel much more comfortable. That's the problem I sometimes have with going to Hollywood. I feel like they don't share the same values as I do. They aren't interested in the same things. It's not always true, but sometimes, I feel it deeply, because as an industry, they celebrate things that I'm less interested in, and it's all about the business.
I think, over the course of one's lifetime, there are always certain core elements that are intriguing to you, and you take different looks as you get older, but it's something you keep coming back to. I've always been interested in the relationship between vulnerability and control. That's something that's a big thing for people, whoever they are, no matter how old you are. I think at different times, you're more aware than others.
You don't feel you have the same voice in a presidential election if you live in a solid blue or a solid red state. I also don't think we've educated voters well on the different ways in which primaries work in different states. It doesn't need to be the case that you end up with one Democrat and one Republican, you have open primaries, you can have jungle primaries. There are various permutations and combinations of how to do this.
I was the youngest of the house that I grew up in, so I feel like as the youngest you have it pretty good. At the same time, I guess I required a lot of attention, being afraid of so many different things. So I was never seeking attention; I wanted the opposite. I just knew that when I saw Michael Jackson on the television screen once, it was, like, "That's it! That's what I'm doing for the rest of my life." I never questioned that.
I hate the sound of my own voice. It's just up there, sort of naked and exposed. Live is hard, because on my records, I play almost everything on a lot of stuff. In a live situation, I can't control everything. I use two different microphones. One is just clean, traditional sound, and the other one is basically a cheap cassette-recorder microphone that goes through a distortion box to emulate my voice on the record. That helps some.
Modernity is the ensemble of changes - intellectual, political, economic, social, cultural, technological, aesthetic - that have altered the world drastically since roughly the 17th century, until which time the world was, in the above respects, far less different from the world of any previous epoch of recorded history than it is from the world of today. The modern predicament is the set of problems these changes have bequeathed us.
With experience it seems to be possible to control the flow of paint, to a great extent, and I don't use - I don't use the accident - 'cause I deny the accident... it's quite different from working, say, from a still life where you set up objects and work directly from them. I do have a general notion of what I'm about and what the results will be. I approach painting in the same sense as one approaches drawing, that is, it's direct.
There are five of us. We've all played in various bands together, in different combinations. I know that Todd [Cook] and Tony [Bailey] are my favorite rhythm section - they're just like a unit. I guess we've all just played together in various capacities, so when the band was coming together, it was sort of like we just chose members because they had similar sensibilities and also because they're just cool. We all got along real well.
Since nothing can exist that does not fulfil the conditions which render its existence possible, the different parts each being must be co-ordinated in such a way as to render possible the existence of the being as a whole, not only in itself, but also in its relations with other beings, and the analysis of these conditions often leads to general laws which are as certain as those which are derived from calculation or from experiment.
I did a different size of photograph at the FIAT gallery - this time the images are 30" by 40," so they're maybe like four times the size of images I've shown before in a gallery. I just saw them now, and once they're in the mat and the frame, they're just beautiful. It's funny because even though it's closer to life-sized, to me anyway, they become not necessarily anymore about the person, but they almost become a little more heroic.
Look me in the eye. It’s ok if you’re scared. So am I. But we are scared for different reasons. I am scared of what I won’t become. And you are scared of what I could become. Look at me. I won’t let myself end where I started. I won’t let myself finish where I began. I know what is within me, even if you can’t see it yet. Look me in the eyes. I have something more important than courage. I have patience. I will become what I know I am.
There are all these different areas of specialization. That's it. You have to be a specialist nowadays. There's no other way. I was an artist for a long time, but I was always into being a general practitioner. I did a little of this and a little of that. And nothing got me anywhere. You have to specialize. If you don't specialize, it takes you until you're about fifty years old before anybody notices that you're doing anything at all.
I don't have the story finished and ready when we start work on a film. I usually don't have the time. So the story develops when I start drawing storyboards. I never know where the story will go but I just keeping working on the film as it develops. It's a dangerous way to make an animation film and I would like it to be different, but unfortunately, that's the way I work and everyone else is kind of forced to subject themselves to it.
Perhaps worse still is what liberal societies might do to themselves in the face of this new and different threat [of terrorism]. They begin, by small but dangerous increments, to cease to be as liberal as they once were. They begin to restrict their own hard-won rights and freedoms as a protection against the crminial minority who attempt (and as we thus see, by forcing liberty to commit suidcide, succed in doing) to terrorise society.
The universe is in the experience. It's not just out there. What's out there, we don't know. But for humans it's an experience just like the universe for a dolphin or an insect with 100 eyes is a different experience. Our universe is a human universe experienced in human consciousness and, unless we understand how consciousness operates, we will never actually be able to participate in the creation of our personal and collective reality.
I had no intention of replacing Arnold [Schwarzenegger]. There were a few things that made me want to do the movie. They were the script which had a different direction to it, and it was a chance to do a very different Quaid. I didn't read the short story until I went to college.Reading the story had a different effect on me of how I pictured him to be and the tone of the story was different. In the story, he's a bit more of an everyman.
Liberalism, conservatism, that's irrelevant stuff to Trump. He looks at things in an entirely different way. This is a reason why we, as conservatives, have to remain vigilant as we can to the ideological component of what's going on here, because as it succeeds, we need to be able to tell people why it's working and at the same time be able to contrast and say why it didn't work when the liberals ran the show. This is an ongoing effort.
I am myself a professional creator of images, a film-maker. And then there are the images made by the artists I collect, and I have noticed that the images I create are not so very different from theirs. Such images seem to suggest how I feel about being here, on this planet. And maybe that is why it is so exciting to live with images created by other people, images that either conflict with one's own or demonstrate similarities to them.
Samuel Beckett is the person that I read the most of - certainly the person whose books I own the most of. Probably 800 or 900, maybe 1,000 books of just Samuel Beckett. By him, about him, in different languages, etc. etc. Notebooks of his, letters of his that I own, personal letters - not to me, but I bought a bunch of correspondence of his. I love his humor, and I'm always blown away by his syntax and his ideas. So I keep reading those.
He felt ... a suspicion-no, a conviction-than he had been abandoned, forgotten, and that no one in the whole world cared or would ever care enough about him to really find out what he was like and what his dreams were. He was an outcast, a creature somehow vastly different from all other people, an object of scorn and derision, an outsider, secretly loathed and ridiculed by everyone who met him, even by those few who professed to love him.
Another one of my favourite sayings is, you can't handpick your audience. I feel like I'm making music for people who think like me about music, and that takes a lot of different forms. I could never generalise - but I think if I were to generalise, I'd think that you would say that most of my fans are music lovers who are looking for something outside of the mainstream: maybe a little bit hard to pin down, a little bit hard to categorise.
You're always getting a perfect vibrational match to what you predominantly give your attention to. But you've got to make the best of it. You've got to vibrate slightly different from where you are if you are going to improve where you are. You can't keep taking score of where your business is or your relationship is or your body is without continuing to create it as it is. To make improvement, you've got to reach for a different thought.
There is a regulation of behavior on the Internet and in cyberspace, but that regulation is imposed primarily through code. The differences in the regulations effected through code distinguish different parts of the Internet and cyberspace. In some places, life is fairly free; in other places, it is more controlled. And the difference between these spaces is simply a difference in the architectures of control--that is, a difference in code.
There are all these levels of pretension in LA. Every time you walk into a café or a bar or a restaurant in LA everybody turns around to see if you're famous. Everybody can seem like a celebrity. You can meet somebody who looks like Joe Schmoe and he turns out to be the head of HBO or something. Or you meet a person who just won an Oscar and he looks like he just won an Oscar. And it's a sprawling city, there's so many different parts to it.
I think a lot of the intention of bands, especially in the last year, is to spread themselves out geographically and borrow from different cultures and different sounds, and to be eclectic. And that's great in terms of dynamics, but it also tends to not have that torpedo and fire running through it. If you're spreading yourself out across the globe, you're also not emphasizing a singular point, which I think great rock music has always done.
A reader is entitled to believe what he or she believes is consonant with the facts of the book. It is not unusual that readers take away something that is spiritually at variance from what I myself experienced. That's not to say readers make up the book they want. We all have to agree on the facts. But readers bring their histories and all sets of longings. A book will pluck the strings of those longings differently among different readers.
I'm not big on fat jokes. That's a little beneath me. I'm not a huge fan of making a joke completely at someone else's expense. Even though I think he does it better than anyone else, I don't love... Well, it's different with Sacha Baron Cohen, but that whole thing where you're "punking" people? I don't like that. I don't like doing it, and I don't particularly find it funny when the joke is on a person who doesn't know they're being set up.
Today we understand that reality corresponds to a model - or, even better, the sum of various models - which in science are termed "complex systems" - not complicated or difficult, that's a different thing! This complexity is what creates that which we all know - the World - is connected in a system of networks - and I'm not referring only to the internet but also to thousands of analog networks in which we are all immersed at every instant.
Marriage is not defined in the federal Constitution at all; it's a matter for the states. And applying the Fourteenth Amendment to the equality of men and women and their relationship in marriage is totally different than redefining marriage. Here is the overreach of the judiciary. This, if allowed to stand without any congressional approval, without any kind of enabling legislation, is what Jefferson warned us about. That's judicial tyranny.
Businessmen have a different set of delusions from politicians; and need, therefore, different handling. They are, however, much milder than politicians, at the same time allured and terrified by the glare of publicity....You could do anything you like with them, if you would treat them (even the big ones) not as wolves and tigers, but as domestic animals by nature, even though they have been badly brought up and not trained as you would wish.
Trump was so different - in a bad way - that I thought the best thing I could do was to resist him. And that's because he was attacking the institutions of our democracy, from the First Amendment and the free press to the judiciary. He was stifling internal dissent, and then he was making false and misleading statements routinely. And to me, that's what takes us down the road to authoritarianism and that's why I decided to start resisting him.
People don't like the music that's out now, that's on their radio stations, and they want to hear something different, but they're just the audience. You know, people will keep the TV on even if a show is on that they hate - because, unfortunately, they've been programmed to do that. [But] they are really looking for something that's gonna speak to the world that they're living in. That's what people are looking for, but they're not finding it.
The city keeps reinventing itself. And each generation thinks, as they enter it, that they've missed the best of it, and then they become the authors of the next "best." And so it goes on and on and on. And New York keeps redefining itself and reinventing itself, and then you look at it and it's pretty much the way it was back in the 1920's., or in the 1930's. Something stylistically different in some ways, but it's still got the same vitality.
Regarding the passage on p. 163 of the 'Gleanings': The creatures which Bahá'u'lláh states to be found on every planet cannot be considered to be necessarily similar or different from human beings on this earth. Bahá'u'lláh does not specifically state whether such creatures are like or unlike us. He simply refers to the fact that there are creatures on every planet. It remains for science to discover one day the exact nature of these creatures.
A society which makes provision for participation in its good of all its members on equal terms and which secures flexible readjustment of its institutions through interaction of the different forms of associated life is in so far democratic. Such a society must have a type of education which gives individuals a personal interest in social relationships and control, and the habits of mind which secure social changes without introducing disorder.
Well sometimes I do not listen to music. But when I do it could range from Frank Sinatra to Copeland. I spend a great deal of time playing the piano because it really is my salvation at times. But I am perfectly happy just going on a long bike ride that takes many days to complete and staying away from music for a bit. It always feels so fresh when you return to the instrument with a different observation of things than when you were last there.
I think, oddly, that the world of the amateur is quite self-contained, and it depends on "likes" from other amateurs to perpetuate itself. Of course an awful lot of my colleagues are involved with Instagram - they get likes and dislikes, maybe just likes, I don't know - but I think that it's far less self-contained, the world I work in. It goes off in different directions, and is dependent on responses different from a tick or a like or whatever.
We're looking at two different presidents here if all we have to go on is the media. When Donald Trump is in Washington, D.C., what is he? He is a genuine idiot. He's impolitic, he's uninformed, he's running a chaotic administration where nobody knows what anybody is doing. Whenever they do anything it is disastrous. But the Donald Trump of Washington doesn't exist, because the Donald Trump of Washington is what is reported in the Drive-By Media.
Nowadays blues in particular has a wide, wide, wide, wide net of everything that's called blues. I think if somebody's coming to it in the last ten years or whatever, or even fifteen years, what their experience is what is called blues is different from mine. I have to expand my range of what's been called the blues. I think somebody who's new to it would have to go back and to see what is called blues now, where it came from. If that makes sense.
No civilisation can grow unless fanatics, bloodshed, and brutality stop. No civilisation can begin to lift up its head until we look charitably upon one another; and the first step towards that much-needed charity is to look charitably and kindly upon the religious convictions of others. Nay more, to understand that not only should we be charitable, but positively helpful to each other, however different our religious ideas and convictions may be.
When I see someone who reads something of mine and draws something out of it that's very different from my perspective, I think that's actually cool. Sometimes it's worrisome when you feel they badly misinterpret it, but it just says that they're thinking, and they're bringing their own interpretation to bear on it. [...] That's part of the wonderful thing about putting words into the world, and if I was worried about that, I couldn't be a writer.
There was a concept a long time ago that you would do a different type of reactor called a "fast reactor," that would make a bunch of another element called plutonium, and then you would pull that out, and then you would burn that. That's called "breeding" in a fast reactor. That is bad because plutonium is nuclear weapons material. It's messy. The processing you have to get through is not only environmentally difficultly, it's extremely expensive.
The phrase you usually hear after a cut is "That was great. Perhaps we could have another go. Maybe try it this way." Even that much direction is prefaced with a lot of praise and encouragement. It's quite like how you deal with toddlers: positive reinforcement, and then a little suggestion that you might want to try something different. Roman Polanski will stop the take and shout, "No, no, no!" Which is somewhat alarming the first time it happens.
The only thing I hope for is that, regardless of what the outward world is for different people, different nations, I hope their internal world is similar. And if I, hopefully, have managed to somehow describe my inner world in this book, all I count on is that it will have some resonance among the American readers, or, at the very least, the American readers will treat this book as a kind of a guidebook for my inner world, strange as it may appear.
I don't think it's possible for the Fed to end its easy-money policies in a trouble-free manner. Recent episodes in which Fed officials hinted at a shift toward higher interest rates have unleashed significant volatility in markets, so there is no reason to suspect that the actual process of boosting rates would be any different. I think that real pressure is going to occur not by the initiation by the Federal Reserve, but by the markets themselves.
Although the assembly of the shots is responsible for the structure of the film, it does not, as is generally assumed, create its rhythm; the distinct time running through the shots makes the rhythm of the picture, and the rhythm is determined not by the length of edited pieces, but by the pressure of the time that runs through them. The pieces that 'won't edit', that can't be properly joined, are those which record a radically different kind of time
A vast majority of the geographical area of the country would have been ignored during the campaign, and so the results would have been different. Who's to say Donald Trump would not have done better in California if he'd spent some time out there? And who's to say that Hillary Clinton would have done worse if she'd spent some time out there and actually had been seen by people in California like she was seen elsewhere as having questionable stamina.
A paradigm shift is the best a scientist can hope for. Whenever I smell an opportunity like that, I go after it. You have a new discovery that something's working in a different way than you thought. And this is particularly true in molecular and cell biology, which is structural biology and has the least potential for controversy and partisanship among the biological scientists. You're dealing with a concrete object that's either there or not there.
Death is not earnest in the same way the eternal is. To the earnestness of death belongs precisely that remarkable capacity for awakening, that resonance of a profound mockery which, detached from the thought of the eternal, is an empty and often brash jest, but together with the thought of the eternal is just what it should be, utterly different from the insipid solemness which least of all captures and holds a thought with tension like that of death.