Quotes of All Topics . Occasions . Authors
I'm a lifelong movie addict, and one of my favorite projects is making replica props and costumes. Nearly every one of these - from R2D2 to Hellboy's revolver - ends with the paint job. And it's not just cosmetic. The paint literally tells a story: what this thing is made of, where it's been, what it's been used for, and for how long.
You can go online now and find really thoughtful, in-depth, considered, well-informed communities around virtually any issue. If it's your issue, there are now new ways of mobilising knowledge that weren't there before. There are real bodies of significant knowledge on the web that are valuable that we haven't done nearly enough with.
In 'Gravity,' nearly everything is a metaphor for the main character. The way I tend to approach a film is that character and background are equally important; one informs the other. Here, Sandra Bullock is caught between Earth and the void of the universe, just floating there in between. We use the debris as a metaphor for adversity.
Since losing his reelection in 2002, Barr has lost not only his power but also many of his friends. It doesn't help that after alienating nearly every Democrat with impeachment, he spent the next five years alienating his fellow Republicans - railing against the invasion of Iraq, the PATRIOT Act, and the Bush administration in general.
The ambition of 'Ten Thousand Saints,' Eleanor Henderson's debut novel about a group of unambitious lost souls, is beautiful. In nearly 400 pages, Henderson does not hold back once: she writes the hell out of every moment, every scene, every perspective, every fleeting impression, every impulse and desire and bit of emotional detritus.
From horrific incidents of police brutality and complicity in indiscriminate attacks by triads on citizens to arbitrary mass arrests and the banning of demonstrations, the government has employed nearly every weapon in its war chest to intimidate Hong Kongers into silence and to suppress their popular struggle for democracy and freedom.
Some rescue groups are highly organized, experienced, well-funded, nearly professional. Others are small amateur operations run out of garages and back yards. Their members may identify strongly with animals as victims, sometimes because of traumas and disappointments in their own lives. Others simply love animals and want to help them.
I'm an atheist, and the concept of god for me is all part of what I call 'the last illusion.' The last illusion is someone knows what is going on. Nearly everyone has that illusion somewhere, and it manifests not only in the terms of the idea that there is a god but that it knows what's going on but that the planets know what's going on.
The situation of Leh is a grand one, the great Kailas range, with its glaciers and snowfields, rising just behind it to the north, its passes alone reaching an altitude of nearly 18,000 feet; while to the south, across a gravelly descent and the Indus Valley, rise great red ranges dominated by snow-peaks exceeding 21,000 feet in altitude.
The redwood is the glory of the Coast Range. It extends along the western slope, in a nearly continuous belt about ten miles wide, from beyond the Oregon boundary to the south of Santa Cruz, a distance of nearly four hundred miles, and in massive, sustained grandeur and closeness of growth surpasses all the other timber woods of the world.
I have a love/hate relationship with Amy Grant, but I do go back to her Christmas albums once in a while. They're dated and sentimental and the production is nearly unlistenable, but there's something about her vocal performance that just feels really true. I would take her Christmas albums over Mariah Carey's or Destiny's Child's any day.
Fans give me abuse all the time. Nearly every team does that. If I wasn't a good player, you wouldn't feel like you need to boo me the whole game. So do that if it makes you feel better, but it does spur me on. It's like, 'You expect something from me; that's why you're doing this,' so I don't mind it. They can boo me all day long, really.
It has been difficult to hold onto many paintings but I have retained a few. Possibly the current favorite is titled 'Big Band' completed in 2005. It measures 13 feet x 9 feet. It has 18 nearly life size recognizable portraits of the biggest jazz stars that I knew and saw perform in the 1950s, '60s, '70s, '80s and includes Wynton Marsalis.
Before I wrote my first novel, 'The Expats,' I spent nearly two decades at various arms of publishing houses such as Random House, Workman, and HarperCollins, mostly as an acquisitions editor. But a more accurate title for that job might be rejection editor: while I acquired maybe a dozen projects per year, I'd reject hundreds upon hundreds.
Often I have heard the taunt that suffragists are women who have failed to find any normal outlet for their emotions, and are therefore soured and disappointed beings. This is probably not true of any suffragist, and it is most certainly not true of me. My home life and relations have been as nearly ideal as possible in this imperfect world.
It's easy to see why dog rescue is a mushrooming culture. Turning a troubled person's life around is difficult, but rescuers with commitment and time and a few dollars can radically alter the fate of a dog. And there are millions of dogs - nearly 10 million in the shelter system, many others mistreated in private homes - in need of rescuing.
Samuel Johnson called it the vanity of human wishes, and Buddhists talk about the endless cycle of desire. Social psychologists say we get trapped on a hedonic treadmill. What they all mean is that we wish, plan and work for things that we think will make us happy, but when we finally get them, we aren't nearly as happy as we thought we'd be.
That first company I started made a lot of money for the venture capitalists - nearly $30 million - but next to nothing for the founders. The companies I started after that varied between failures and mediocre successes. But at no point did I ever consider getting a 'real job.' That felt like a black and white world, and I wanted Technicolor.
An interesting insight into the ruthlessness of studio executives: I was having a conversation with Alex Gansa, a creator of 'Homeland,' and I said, 'So you guys must have seen 'Life' and liked me in it, right? That's the most recent thing I've done over here.' And he went, 'No, Damian. You actually nearly didn't get the job because of 'Life.'
