THURSDAY, APRIL 5, 1894... I met with the Quorum and Presidency in the temple... President Woodruff then spoke... 'In searching out my genealogy I found about four hundred of my female kindred who were never married. I asked Pres. Young what I should do with them. He said for me to have them sealed to me unless there were more than 999 of them. The doctrine startled me, but I had it done.

Something about this made Reynie uneasy. Had he done so badly? Was this meant to test his courage? He did as he was told, closing his eyes and bracing himself as best he could. "Why are you flinching?" the pencil woman asked. "I don't know. I thought maybe you were going to slap me." "Don't be ridiculous. I could slap you perfectly well with your eyes open. I'm only going to blindfold you.

It's a weird technique but it works. If you bake tapes at a certain temperature - I think it's 130 degrees - something happened to the magnetic particles, so you can restore them. The key is to do the transfer to digital while it's still warm. If it's done right, the new digital version will actually improve upon the quality of the original. If you do it wrong, though, the tapes will melt!

We have to fight them daily, like fleas, those many small worries about the morrow, for they sap our energies. We make mental provisions for the days to come, and everything turns out differently, quite differently. Sufficient unto the day. The things that have to be done must be done, and for the rest we must not allow ourselves to become infested with thousands of petty fears and worries.

While the nation that has dared to be great, that has had the will and the power to change the destiny of the ages, in the end must die, yet no less surely the nation that has played the part of the weakling must also die; and whereas the nation that has done nothing leaves nothing behind it, the nation that has done a great work really continues, though in changed form, to live forevermore.

When that word came down that the company had decided that we were going to go theatrical, we hooped and hollered and wahooed and all of that stuff, but the good thing is we didn't have to change anything. It's not like all of a sudden we had to reset, like "Oh my gosh, we're going to theater. We've got to make this better. We've got to make this bigger. We've got to add..." It was all done.

You make a film and you can't really pick the way it's put to the public. You control the content, but the way it's marketed, or the poster, or what they're telling the public about the film, it's beyond you. Some people don't even see them, because they think they already know it. That can be frustrating, when something you've done is marketed in a way you think is antithetical to what it is.

From the little reading I had done I had observed that the men who were most in life, who were molding life, who were life itself, ate little, slept little, owned little or nothing. They had no illusions about duty, or the perpetuation of their kith and kin, or the preservation of the State. They were interested in truth and in truth alone. They recognized only one kind of activity - creation.

I love to work, and to make all kinds of work. But if I work on a fashion story then I work for somebody. If I work for me, for an art project, then I'm not that nervous. It doesn't matter when the photo is done. And if I work on a fashion shoot, then I have access to all these things that I can use later for my art - a still life here or there. I can do all of this while the model is changing.

I wonder if ever again Americans can have that experience of returning to a home place so intimately known, profoundly felt, deeply loved, and absolutely submitted to? It is not quite true that you can't go home again. I have done it, coming back here. But it gets less likely. We have had too many divorces, we have consumed too much transportation, we have lived too shallowly in too many places.

Why should anyone be afraid of change? What can take place without it? What can be more pleasing or more suitable to universal nature? Can you take your bath without the firewood undergoing a change? Can you eat without the food undergoing a change? And can anything useful be done without change? Don't you see that for you to change is just the same, and is equally necessary for universal nature?

I do not suffer; I cannot suffer because I am not an object. Of course there is suffering. But do you realize what this suffering is? I am the suffering. Whatever is manifested, I am the functioning. Whatever is perceptible I am the perceiving of it. Whatever is done I am the doing of it; I am the doer of it, and, understand this, I am also that which is done. In fact, I am the total functioning.

Today I am amazed at the things our children have done and their wide range of interests. They are all living their lives and not the ones I would have planned for them. But I have learned that their lives are theirs, not mine, and in living their own lives they have given me experiences and an education I would never have had if I'd been fool enough to make them do what I thought they should do.

Basically, I know there's no turning back the clock, and it's sort of pointless to mourn what has passed, but I don't know if the alternatives now really replicate the learning experience that I had, in terms of what I gained from making mini-comics. There were certain components of it that are completely gone because of being able to just throw stuff up on your blog the minute you're done with it.

We haven't had one leak about anything boorish, immature, childish, chaotic, incompetent that Trump has done on Middle East trip. My point is that the Trump on this trip has been seen and shaped as unfiltered. The media has not been able to get themselves between whatever Trump is doing and saying and you. In Washington, it's just the exact opposite. The media is right there, between Trump and you.

They look at me, and you can see they're looking at a ghost. They were all getting the K. C. Jeebies hardcore. Dave said, "She is so much like Kurt." They were all talking amongst themselves, rehashing old stories I'd heard a million times. I was sitting in a chair, chain-smoking, looking down like this [affects total boredom]. And they went, "You are doing exactly what your father would have done."

Having done Spaced, I can't even remember it being that difficult on Spaced, but we know what the end's going to be like. We know why we're putting in this amount of work, or why a shot might be particularly tricky, because we know that what we do is create a whole package. It's the writing, the performances, and the style of camerawork, that's what we're working toward, and we're prepared for that.

In the chapter on study we considered the importance of observing ourselves to see how often our speech is a frantic attempt to explain and justify our actions. Having seen this in ourselves, let's experiment with doing deeds without any words of explanation whatever. We note our sense of fear that people will misunderstand why we have done what we have done. We seek to allow God to be our justifier.

I looked at it [revolver] as if it reminded me of a crime I had committed with an irrepressible smile such as rises sometimes to people’s lips in the face of great catastrophes which are beyond their grasp, the smile that comes at times on certain women’s faces while they are saying they regret the harm they have done. It is the smile of nature quietly and proudly asserting its natural right to kill.

She had asked: What is he? A friend or an enemy? The alethiometer answered: He is a murderer. When she saw the answer, she relaxed at once. He could find food, and show her how to reach Oxford, and those were powers that were useful, but he might still have been untrustworthy or cowardly. A murderer was a worthy companion. She felt as safe with him as she'd done with Iorek Byrnison the armoured bear.

Her little fists pummeled at him, and he accepted the abuse. Until he realized she’d made an improper fist and was actually hurting herself. He wound an arm around her waist, spun her and slammed her into the hard line of his body to still her. “Let me go!” “In a minute.” As she struggled, he pulled her thumb out from beneath her fingers and rearranged her fist. “Hit like this.” Done, he released her.

From this outer edge of his life, looking back, there was only one remorse, and that was only that he wished to go on living. Did all dying people feel this way, as if they had never lived? Did life seem that short, indeed, over and done before you took a breath? Did it seem this abrupt and impossible to everyone, or only to himself, here, now, with a few hours left to him for thought and deliberation?

Baz [Luhrmann] paid me one of the greatest compliments ever. I don't know him, really, but when I first met him I was congratulating him on ROMEO + JULIET - which I think is a wonderful adaptation - and he said, "Oh, well we couldn't have done it without your RICHARD III, which was an inspiration!" I've never quite checked up on the dates to see whether or if, in fact, we did our film before he did his.

The beliefs which we have most warrant for have no safeguard to rest on but a standing invitation to the whole world to prove them unfounded. If the challenge is not accepted, or is accepted and the attempt fails, we are far enough from certainty still; but we have done the best that the existing state of human reason admits of; we have neglected nothing that could give the truth a chance of reaching us.

Thought is no longer theoretical. As soon as it functions it offends or reconciles, attracts or repels, breaks, dissociates, unites or reunites; it cannot help but liberate or enslave. Even before prescribing, suggesting a future, saying what must be done, even before exhorting or merely sounding an alarm, thought, at the level of its existence, in its very dawning, is in itself an action-a perilous act.

The hardest work that actors have done, including myself, is on poorly written scripts. And when you first start out you do anything. I did a lot of crap. I did more crap than I can tell you. But you did it because you needed the money. You have to pay for your pictures and resumes, and classes and insurance and food like everybody else. In those days if it was crap you just didn't put it on your resume.

Money is a sort of instinct. It's a sort of property of nature in a person to make money. It's nothing you do. It's no trick you play. It's a sort of permanent accident of your own nature; once you start, you make money, and you go on. . . But you've got to begin. . . You've got to get in. You can do nothing if you are kept outside. You've got to beat your way in. Once you've done that, you can't help it!

Congratulations. You have met your conscience. In my experience, the world is divided between those who have one and those who don't. And the ones with one are divided into those who will act on their conscience and those who won't. Those who will are, I'm afraid, the smallest category. They will *jeito*. It's Brazilian Portuguese. It means to find a way to get something done, no matter what the obstacles.

One of the most basic and pervasive social processes is the sorting and labeling of things, activities, and people... Sorting and labeling processes involve a trade-off of costs and benefits. In general, the more finely the sorting is done, the greater the benefits - and the costs... Sorting and labeling, whether of people or of things, is a sorting and labeling of probabilities rather than of certainties.

I got my deal off MySpace.com. I wrote to J.R. Rotem. He is big producer. He's done a lot of stuff for Rihanna, 50 Cent, Britney Spears and etc. I thought, "Yo, this guy is really talented I want to work with him." Once I sent him message he didn't reply back. I kept on sending the messages. I kept on hitting him back like eight times a day. He eventually replied back like, "Yo, I want to hear more music."

Football is one side of me. Art is another. Travel is another. As I mature, I can organize it so that when I'm done with football, whether it be travel, or becoming a doctor, or going off on a farm and raising chickens, which I'd also like to do, or climbing ten of the most difficult peaks in the world, or spending time backpacking in a flannel shirt and big boots, I'll know how to take off into the world.

But if I were asked to pick one constant, one quality that seems dependable, immutable, endlessly available, I'd say that it was intensity. For nothing in Sicily seems withheld, done half way, restrained or suppressed. There's nothing to correspond to say, the ironic, the cerebral remove at which a Frenchman might consider an idea or a question, or the Scandinavian distrust of the sloppy, emotive response.

You cannot stay the shell in its flight; after it has left the mortar, it goes on to its mark, and there explodes, dealing destruction all around. Just as little can you stay the consequences of a sin after it has been committed. You may repent of it, you may even be forgiven for it, but still it goes on its deadly and desolating way. It has passed entirely beyond your reach; once done, it cannot be undone.

Nations are like people. Once you understand the interactions between nations, it's easy to understand why things are done, in terms of foreign policy, in a certain way. But nations are not like people in the sense that we are cumulatively represented by others - and their interpretations of what our interests are may not be the same as what they really are. And that's what's dangerous, even in a democracy.

I cordially dislike allegory in all its manifestations, and always have done so since I grew old and wary enough to detect its presence. I much prefer history – true or feigned– with its varied applicability to the thought and experience of readers. I think that many confuse applicability with allegory, but the one resides in the freedom of the reader, and the other in the purposed domination of the author.

As naturally as the ruled always took the morality imposed upon them more seriously than did the rulers themselves, the deceived masses are today captivated by the myth of success even more than the successful are. Immovably, they insist on the very ideology which enslaves them. The misplaced love of the common people for the wrong which is done to them is a greater force than the cunning of the authorities.

You know and I know that as soon as it's done, you have to get it out there. You want what's best for it. And especially in owning a label, which some days is the greatest thing for me and in some days is my demise because you see the truth and the work that goes into things and you see things happen and you see things not happen, and all you want in this world of currency right now is popularity, that's it!

I rarely feel the desire to reread a scene the day before the shooting. Sometimes I arrive at the place where the work is to be done and I do not even know what I am going to shoot. This is the system I prefer: to arrive at the moment when shooting is about to begin, absolutely unprepared, virgin. I often ask to be left alone on the spot for fifteen minutes or half an hour and I let my thoughts wander freely.

There is a good chance Donald Trump won't survive four years. Conflict of interest is the biggest danger for Trump. He is destroying one of the pillars of the free world. He is seeking to eliminate the very concept of conflict of interest. A lot of things in America were built on a code of honour. I am confident the damage done by ruling through family and friends will be made impossible by future regulation.

I admired the English immensely for all that they had endured, and they were certainly honorable, and stopped their cars for pedestrians, and called you “sir” and “madam,” and so on. But after a week there, I began to feel wild. It was those ruddy English faces, so held in by duty, the sense of “what is done” and “what is not done,” and always swigging tea and chirping, that made me want to scream like a hyena

(Playing with Jeffster at Comic-Con) was absolutely the scariest thing I have ever done. I literally skipped over the 'what a great moment' to 'oh, my God, I can't believe I have to do this.' And when I was up there, the people were, like, "Oh, my God," and they were all screaming and stuff. But I didn't hear a thing. I was just in my own little bubble of horror and panic, utterly, utterly blanched with terror.

I really wanted to do a comedy. I've done a lot of drama, and comedy was the one genre I was not being offered. So I became obsessive about getting one. I tried with two little parts in comedies that were more mainstream, I was kind of fumbling around, and then I read The Brothers Bloom and knew it was the one I wanted to jump into. Did it take adjusting? Actually, it's not really any different from doing drama.

Privilege exists when one group has something of value that is denied to others simply because of the groups they belong to, rather than because of anything they’ve done or failed to do. Access to privilege doesn’t determine one’s outcomes, but it is definitely an asset that makes it more likely that whatever talent, ability, and aspirations a person with privilege has will result in something positive for them.

I love anything hearty and I'm very vocal about my hatred for turkey. I just, I will never understand people's love for turkey - and everyone will cry out, 'Well, you haven't made it the right way!' and it's like, no I have. I have deep-fried it, I've done the beer can turkey, I've done everything possible - I've had the fancy stuffing inside, I've had the Stove Top Stuffing inside - no! It's bad, any which way.

Right now I am working on something that's pretty important to me. It has to do with my own history in politics. I'd done All the President's Men, and the history of how that came about is a story unto itself. It began with The Candidate. No one knows about that connection. I was on a train, and I was promoting The Candidate going from Jacksonville, Florida, down to Miami to duplicate what candidates in 1972 did.

What do you know about yourself? What are your stories? The ones you tell yourself, and the ones told by others. All of us begin somewhere. Though I suppose the truth is that we begin more than once; we begin many times. Over and over, we start our own tales, compose our own stories, whether our lives are short or long. Until at last all our beginnings come down to just one end, and the tale of who we are is done.

When it’s all said and done, I want to be able to say I got the most out of my potential. I don’t want to look back, however many years from now, and say, ‘I wonder if I would have worked a little harder. I wonder if I would have done this or done that, how things would have turned out.’ I want to, when it’s all said and done, be able to put my head on my pillow and say, ‘I did everything I could do — good or bad.’

I had never done anything with blue screen before, or prosthetics, or anything like that. Lord of the Rings was like stepping into a videogame for me. It was another world completely. But, to be honest, I basically did it so that I could have the ears. I thought they would really work with my bare head.Working with Martin Scorsese was an absolute minute-by-minute education without him ever being grandiose about it.

You should desire for others what you desire for yourself, and hate for others what you hate for yourself. Do not oppress, just as you do not like to be oppressed. Do good to others just as you would like good to be done to you. Dislike in yourself what you dislike in others. Accept that treatment from others which you would like others to accept from you. Do not say to others what you do not like to be said to you.

Kurt Russell said another brilliant thing. He had starred in umpteen movies by that point. And he said, "Generally speaking, in every film I've done, there are only about three or four scenes that I can really do something with. For the rest of it, it's not so much that you don't have to prepare, but there's not much you can really do. You just do what is asked of you in those scenes. You don't want to do too much."

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