Quotes of All Topics . Occasions . Authors
I know that I'm definitely not a big big snob, and I know that at the times that I am a diva I know I'm being a diva. It's kind of annoying to know that you are. Because it's a person I do not want to be. So I'm trying my best not to become a jerk.
What kind of believer are you? Do you believe IN God?. Or do you believe God? There is a major distinction. People who believe in God, simply acknowledge the existence of a Higher Power. People who believe God believe Him enough to do what He says.
I'm allowing myself every opportunity, every tool that every other artist should allow themselves to use. If anybody expects me to not use certain language or certain words, like I have some kind of penalty restriction, it's completely unrealistic.
The kind of painting which I find exciting is not necessarily representational or non-representational, but it is musical and architectural... Whether this visual relationship is slightly more or slightly less abstract is, for me, beside the point.
Johannesburg is weird, because half of it is like Los Angeles. It feels like just wealthy parts of L.A. But half of it is severe slummy, something like Rio De Janiero or something. So it's kind of weird, because it's both happening at the same time.
I realised how paranoid and guarded and not trusting - walled-in - I had become. Not consciously so, but just this armour that I kind of have, protective armour. It's not for my friends or family, but for being.outside in the world, always on guard.
For me, we're all comfortable, we're all happy, hopefully, but at the same time something will happen and you have to kind of understand that phenomenon. You have to understand what's going on and I've always been fascinated by craziness and lunacy.
Mass-market movies have become about one thing. They kind of declare themselves right off the bat. . . . But when I go to see (a film), I want to be surprised. I want to see something I never expected. And when you get that, it should be celebrated.
I kind of dread any kind of critical response, just because it's always painful in some way. Even if it's 80 percent good, it's the 20 percent that's bad that you remember - and that's a higher number than I usually get, 80 percent would be amazing.
The Shari'a itself - this is possibly a kind of verbal debate - is understood to be something different from the Fiqh, and the Fiqh is the man-made element and the Shari'a is theoretically the divine element but it depends on one's personal beliefs.
I certainly feel my career was a great career because it inspired so many many people, literally hundreds of people to follow a new kind of life and to realize that they could make out and advance their own professional and private and social lives.
I grew up watching old musicals and seeing Ginger Rogers wearing a beautiful fitted bodice that had ostrich feathers. I love how it moved when she danced. Theatrical pieces like that stayed with me. I wanted to grow up to wear those kinds of things.
We must learn not to take traditional morals too seriously. And it is just because even the least dogmatic of religions tends to associate itself with some kind of unalterable moral tradition, that there can be no truce between science and religion.
The very idea that there is some kind of conflict between science and religion is completely mistaken. Science is a method for investigating experience... Religion is the fundamental, necessary internalization of our system of more permanent values.
In a previous life I wrote the software that controlled my physics experiments. That software had to deal with all kinds of possible failures in equipment. That is probably where I learned to rely on multiple safety nets inside and around my systems.
I have nothing but contempt for the kind of governor who is afraid, for whatever reason, to follow the course that he knows is best for the State; and as for the man who sets private friendship above the public welfare - I have no use for him either.
The key in mastering any kind of sales is switching statements about you and how great you are and what you do, to statements about them, and how great they are and how they will produce more and profit more from ownership of your product or service.
We've looked at [Donald Trump's] tax proposals. I don't see changes in the corporate tax rates or the kinds of proposals you're referring to that would cause the repatriation, bringing back of money that's stranded overseas. I happen to support that.
That for me is what intrigues me the most about feature films. It's not like the little kind of esoteric projects that you and your friends get but how do you make something that has a universal appeal. Those are the movies that intrigue me the most.
People always ask me, "Oh, do you ever want to start your own thing?" And I don't, actually. I think what I enjoy most is the sort of co-production of things, where you bring something and somebody else brings something and a kind of alchemy happens.
Work doesn't have to be great in order to dignify it as work. Work just is. It's quite value-neutral. The issue is about what kinds of power and control you have at work as a human being. That's the commonality. It's not necessarily what the task is.
I've got Tom Hiddleston playing Henry V. I don't want to have a bowl haircut. I want him looking good so, you know, I want him in delicious kind of tight fitting leather jackets. [] I don't want him in tights, so he got nice leather trousers in mine.
All depends really on what kinds of assumptions you make. When you're forecasting things that will be happening 50 to 100 years in the future, it's really hard to predict what's going to happen that far out, so you have to make a bunch of assumptions.
I just like to be in the now. And kind of reporting on what it is that I see, feel and that's really reflective of the times that I'm in, we're in and I think with the latest works, it's still evident that we're going through a lot of the same things.
Once you begin to talk about wealth inequality, especially as it relates to corporations and big banks, or engage in an indictment of U.S. foreign policy, you are really getting at the center of a society that is very fearful of that kind of critique.
When I was younger I was attracted to people who had that kind of artifice - people who were incredibly polished and had a complex persona that always seemed to be turned on. I was really interested in these kinds of people because I felt so unformed.
Well, it's true that you often kind of forget to see the person you're most intimate with, but occasionally I'll come to and sort of think, 'Oh my God! You're really, really good-looking! I'm embarrassed now! It's nice to occasionally have that flash.
When you make movies, you've picked the most expensive art form, and somebody has to pay for it. You kind of owe it to them to at least let them know how you expect to make it as accessible to as many people as you can, given the story you're telling.
Temporary is all you're going to get with any kind of health care, except the health care I'm telling you about. That's eternal health care, and it's free... I've opted to go with eternal health care instead of blowing money on these insurance schemes.
The story is everything, so it always begins with a story.And research is a kind of scaffolding built underneath the story as I go along. My enjoyment level varies, but in general, I'm writing about topics I find interesting, so I can't gripe too much.
My mom never really pushed me into doing something. It was kind of whatever I wanted to do, and that was what made me continue and have the longevity that I had in my career. I went through ups and downs in the pool when I loved it and when I hated it.
There are nineteen words in Yiddish that convey gradations of disparagement, from a mild, fluttery helplessness to a state of downright, irreconcilable brutishness. All of them can be usefully employed to pinpoint the kind of individuals I write about.
The kinds of scenes I like most are the ones where you just bury yourself in there. So I wouldn't say that's the only way to be funny, but that's my favorite way to play stuff, to try to put myself in a situation where that kind of acting is necessary.
I have lived a life that has been beautiful and painful at some moments. But I am convinced others can learn how to control a certain kind of rage that bubbles up in many Americans, particularly, but not limited to, women, blacks, and other minorities.
My kind of composing is more like the work of a gardener. The gardener takes his seeds and scatters them, knowing what he is planting but not quite what will grow where and when - and he won't necessarily be able to reproduce it again afterwards either.
Finding meaning in the relationships that we have with one another - that's the only way to achieve any kind of fundamental true grace and that points to where it all ends up. It's let's stop being away some place, let's be here. It's, let's be in this.
The new kind of music seems to create not from the heart but from the head. Its composers think rather than feel. They have not the capacity to make their works exalt - they meditate, protest, analyze, reason, calculate and brood, but they do not exalt.
I never felt comfortable in real life very well. It's always been an awkward kind of thing for me and so when I hit the stage I just sensed freedom. I sensed here's a place that I can have all the experiences of life and not feel uncomfortable about it.
I was excited about the fourth movie I guess conceptually because, what I felt we should do it, we should try to make it a conceptual jump like Terminator did to T2. It was still the Terminator franchise, but it was something kind of bigger and grander.
We walked always in beauty, it seemed to me. We walked and looked about, or stood and looked. Sometimes, less often, we would sit down. We did not often speak. The place spoke for us and was a kind of speech. We spoke to each other in the things we saw.
For me, whether or not a film has some kind of massive budget or is an independent film, or however it's getting made, it's always about the filmmaker and, hopefully, being a vessel for the filmmaker's vision. That's what really attracts me to projects.
I have moved around a lot, and I've lived in all of these different environments - that has affected the kinds of music and the range of music and influences I've had in my life. All of those influences - more subconsciously - play into the music I make.
I think 3D can be an incredible thing on a movie and a terrible thing for a movie, depending on what kind of movie it is. And I've seen movies where I thought the 3D really enhanced the experience, and sometimes where I thought it just detracted from it.
When I was 21 I think I thought I was 31. I was always kind of doing the right thing, and it wasn't until my late twenties that I became just a completely wild asshole. So I should've had that out of my system already and I was too busy being a grown-up.
I used to like smoking before I recorded, but, now it's just kind of like thinking about executing it... I just want it to be the best and all that. That's what really gets me in the zone nowadays. I want to put my best foot forward and make a statement.
The Americans are the living refutation of the Cartesian axiom, "I think, therefore I am": Americans do not think, yet they are. The American 'mind,' puerile and primitive, lacks characteristic form and is therefore open to every kind of standardization.
Once, this had been the life I’d wanted. Even chosen. Now, though, I couldn’t believe that there had been a time when this kind of monotony and silence, this most narrow of existences, had been preferable. Then again, once, I’d never known anything else.
I'd be fine if there weren't film festivals, and you just made your films and didn't have to do anything from that point on. That would be really great, wouldn't it? I don't know. I'm in kind of an aloof time, where I'm not taking anything too seriously.
The compartmentalizing is so severe, that we kind of lose track. When you sit down to dinner with friends, you're going to talk about everything, sharing this polyphony of experiences, this spectrum of culture, and it's all cross-pollinating all the time.
Most works of art are effectively treated as commodities and most artists, even when they justly claim quite other intentions, areeffectively treated as a category of independent craftsmen or skilled workers producing a certain kind of marginal commodity.