Quotes of All Topics . Occasions . Authors
Some actors might just do one thing, and another actor does another thing. I do an awful lot of preparation with the script, really. What I do is repeat the script, over and over and over again. Through that, it's almost like it seeps into my enamel. I'm reading all the characters, as well as my own. That is where the bulk of my preparation goes into.
In reading we must become creators. Once the child has learned to read alone, and can pick up a book without illustrations, he must become a creator, imagining the setting of the story, visualizing the characters, seeing facial expressions, hearing the inflection of voices. The author and the reader "know" each other; they meet on the bridge of words.
I had never understood quite so clearly the effective power of Jane Jacob's writing - no, her clear-headed observation - as I did reading “What We See”. Maybe that's really the point of writing. That if you take the time to look, to really observe, then you see what is happening, and, with the clarity of that vision, you can act to save neighborhoods.
A Crime So Monstrous is a remarkably brave and unflinching piece of reportage and storytelling. Ben Skinner bears witness, sharing stories so unsettling, so neglected, so chilling they will leave you shaking with anger. This should be required reading for policy makers around the world - and, for that matter, anyone concerned about the human condition.
There may never be a baby book that offers the conclusive answer to every question, but it's possible to extract some wisdom from the suffering of past generations of parents. Does the book you're reading contradict itself repeatedly, require you to override all your parental instincts, or send you into a panic over your own inadequacy? If so, burn it.
Every kid in every school no matter their background, deserves to learn the basics about food - where it comes from, how to cook it and how it affects their bodies. These life skills are as important as reading and writing, but they've been lost over the past few generations. We need to bring them back and bring up our kids to be streetwise about food.
Twenty times, in the course of my late reading, have I been on the point of breaking out, 'this would be the best of all possible worlds, if there were no religion in it!' But in this exclamation, I should have been as fanatical as Bryant or Cleverly. Without religion, this world would be something not fit to be mentioned in public company-I mean hell.
Cram your head with characters and stories. Abuse your library privileges. Never stop looking at the world, and never stop reading to find out what sense other people have made of it. If people give you a hard time and tell you to get your nose out of a book, tell them you're working. Tell them it's research. Tell them to pipe down and leave you alone.
Even as a teenager we got interested in the Beats, Dada, and Surrealism, and so on. What drew us to those was that their lives were their art. It wasn't something they did separately. Reading biographies of artists of that kind was what was fascinating to me, more than the stuff they made. We became convinced that life and art is really the same thing.
[When] Johnny Mnemonic was coming out and I realized that all the kids that worked in 7-11 knew more - or thought they knew more - about feature film production than I did. And that was from reading Premiere, that was from this change that came from magazines that treat their readers as players. Magazines that purport to sell you the inside experience.
I was shocked at college to see one hundred of my classmates in the library all reading copies of the same book. Instead of doing as they did, I went into the stacks and read the first book written by an author whose name began with Z. I received the highest grade in the class. That convinced me that the institution was not being run correctly. I left.
For all the textbook reasons - any individual's reading of a photograph is preceded by the evidential authority of the medium. You have the literalness of a glass on a table - and at the same time of that evidential authority that you can't get around, there is the possibility of universalizing the subject - of getting the whole world into the picture.
I love short stories - reading and writing them. The best short stories distill all the potency of a novel into a small but heady draught. They are perfect reading material for the bus or train or for a lunchtime break. Everything extraneous has been strained off by the author. The best short stories pack the heft of any novel, yet resonate like poetry.
It is important to learn from other women. We have a lot to offer and to learn from each other out of our separate and common experience. The sisterhood (including the boilers - the old chooks!) is important to me. The dialogue between women is a rich field, but change does not come without a lot of reading, asking, listening, risk taking and hard work.
If your memory was OK you could descend upon on a bookshop – a big enough one so that the staff wouldn’t hassle a browser – and steal the contents of books by reading them. I drank down 1984 while loitering in the 'O' section of the giant Heffers store in Cambridge. When I was full I carried the slopping vessel of my attention carefully out of the shop.
Given the lack of public skills in reading photographs, given that photographic content is sometimes buried in beauty, contemporary landscape photographers are often condemned to making pretty pictures. Dramatic clouds and sifting light can overwhelm more mundane information. Yet who can resist beautiful landscape pictures of one kind or another? Not I.
Seriously, if you want to get inside the head of a stand-up comic, you could do a lot worse than reading Steve Martin's Born Standing Up, all about how he developed his career and his creativity as a comedian. Lots of what he talks about is relevant to anyone in the creative arts - you find yourself, your voice, your technique and then maybe luck calls.
People cannot stand the saddest truth I know about the very nature of reading and writing imaginative literature, which is that poetry does not teach us how to talk to other people: it teaches us how to talk to ourselves. What I'm desperately trying to do is to get students to talk to themselves as though they are indeed themselves, and not someone else.
This capacity for oversignifying, for reading in, is precisely what poets tap into, both in their own practice and in the poem the give to the reader; and in doing so they turn language against its own project of conceptual division, and use it to heal itself - and in the process - paradoxically - to articulate new concepts that it can't yet accommodate.
I remember reading an article about this idea of borderline personality disorder, which is reality producers try the find people who are sort of flamboyantly anti-social in these certain ways, because what happens when you put them around other people is they drag everyone down to their level. I feel like I`m watching this disgraceful race to the bottom.
Who reads Incessantly, and to his reading brings not A spirit and judgment equal or superior, (And what he brings what need he elsewhere seek?) Uncertain and unsettled still remains, Deep versed in books and shallow in himself, Crude or intoxicate, collecting toys And trifles for choice matters, worth a sponge, As children gathering pebbles on the shore.
If you enjoy reading, writing, learning, and sharing what you have learned, don't hesitate to look for a life where you can continue to do those things. It could be as a scientist, an educator, an editor, a journalist, the founder of an organization. You only live once, and it is a tragedy if you deny yourself these options without trying to pursue them.
Despite Langdon’s six-foot frame and athletic build, Anderson saw none of the cold, hardened edge he expected from a man famous for surviving an explosion at the Vatican and a manhunt in Paris. This guy eluded the French police…in loafers? He looked more like someone Anderson would expect to find hearthside in some Ivy League library reading Dostoyevsky.
With the myriad of new Bible translations on the market today, few stand out. The ESV is one of the few, and surpasses the others in its simple yet elegant style. In many respects the ESV has accomplished in the 21st century what the KJV accomplished in the 17th: a trustworthy, literary Bible that is suitable for daily reading, memorizing, and preaching.
In company with people of your own trade you ordinarily speak of other writers' books. The better the writers the less they will speak about what they have written themselves. Joyce was a very great writer and he would only explain what he was doing to jerks. Other writers that he respected were supposed to be able to know what he was doing by reading it.
There were many books in my parents' home. I'm from a family of five children and we were all readers. And so by the time I left home, I had already read many books, and I was very interested in reading more. That was when I started to have the desire to write. But it wasn't like a divine apparition with angels and seraphins on high. Not for me, at least.
Most of what I read is for reviewing purposes or related to something I want to write about. It's slightly utilitarian. I definitely miss that sense of being a disinterested reader who's reading purely for the pleasure of imagining his way into emotional situations and vividly realized scenes in nineteenth-century France or late nineteenth-century Russia.
We all learn best in our own ways. Some people do better studying one subject at a time, while some do better studying three things at once. Some people do best studying in structured, linear way, while others do best jumping around, surrounding a subject rather than traversing it. Some people prefer to learn by manipulating models, and others by reading.
Your job, your invitation from the Universe, is to give people back to themselves. You can do this every day, in a hundred ways. All you have to do is look for the best in that person, and then show it to them, right then and there. Describe it. Admire it. Thank them for it. Why not practice it with the first three people you encounter after reading this?
Try to find the real tense of the report you are reading: Was it done, is it being done, or is something to be done? Reports are now written in four tenses: past tense, present tense, future tense, and pretense. Watch for novel uses of CONGRAM (CONtractor GRAMmer), defined by the past imperfect, the present insufficient, and the future absolutely perfect.
I've never been able to read for anything, and every time I have, I've never gotten the part. And I don't know why that is. I just can't. Reading or auditioning for something... It's like it's this mental block in my brain, and I just can't do it. But when people ask you to do stuff without making you go through that, it's a much more pleasant experience.
I've been reading about and writing about the Civil War period and it is so striking that slavery was never made right - [Abraham] Lincoln was killed, Reconstruction came along, and all of that inequity was frozen in place and carried forward rather smugly. So I think the burden is now upon us white people, to say that this systemic inequality offends us.
In Africa, when you pick up a book worth reading, out of the deadly consignments which good ships are always being made to carry out all the way from Europe, you read it as an author would like his book to be read, praying to God that he may have it in him to go on as beautifully as he has begun. Your mind runs, transported, upon a fresh deep green track.
When one read's Kierkegaard's profound analyses of anxiety and despair or Nietzsche's amazingly acute insights into the dynamics of resentment and the guilt and hostility which accompany repressed emotional powers, one might pinch oneself to realize that one is reading works written in the last century and not some new contemporary psychological analysis.
Consent of the Networked will become the seminal book firmly establishing the responsibility of those who control the architecture and the politics of the network to the citizens who inhabit our new digital world. Consent of the Networked should be required reading for all of those involved in building our networked future as well as those who live in it.
Even on the iPad or the Kindle, when reading a book, you're rewarded for pressing a button - it's almost as if it were a Pavlovian thing. There's a little action that happens. And that there's always a little pump of adrenaline that happens. But that pump is different when you're lifting a page as if it was a curtain in a theater to show you another thing.
If you’re reading these words, perhaps it’s because something has kicked open the door for you, and you’re ready to embrace change. It isn’t enough to appreciate change from afar, or only in the abstract, or as something that can happen to other people but not to you. We need to create change for ourselves, in a workable way, as part of our everyday lives.
Harriet Levin [is] a shining poet in her generation.... The dynamics of her language and her vigorous voice distinguish all her poems. Levin's fearless willingness to tackle any subject combines with her subtle intelligence to produce a rare reading experience, the moving, psychologically sophisticated and intriguing work of a poet with both guts and craft
It didn't help matters that I was shy and wore glasses. I was never one to stand out in the crowd. I liked to stay in corners. And I was happiest when I was alone reading. That and the good grades I got in school had doomed any chance of being popular with my peers. So it was a foregone conclusion that boys like Hardy were never going to take notice of me.
When you've only got few days of rehearsal before you're in the studio, it's wonderful to start off with people that you have good, friendly, tolerable relationships to start with, for the simple reason that you don't have to spend 24 hours figuring out how sensitive they are, and can you give them a line reading, or how do you have to give them direction.
One of the most useful parts of my education as a writer was the practice of reading a writer straight through - every book the writer published, in chronological order, to see how the writer changed over time, and to see how the writer's idea of his or her project changed over time, and to see all the writer tried and accomplished or failed to accomplish.
People who wear their religion on their sleeves talk a lot about going to Sunday school, reading the Bible, and doing good works. And I suppose there's no harm in that. But if I'd gone to the trouble to pull all this together ... and people never paid any attention to it, never bothered to try to find out how the world worked, then I think I'd get annoyed.
Underground comics were produced by individuals - they were the auteur variety, rather than the production-line sort of comic book aimed at pleasing a vast general audience. Mainstream comics never appealed to me: they seemed sterile in their stylistic consistency, and were quickly consumed, the stories interesting only for so long as you were reading them.
I learned that a television show is not a collaboration. You give your 180 percent, but you do not question the show-runners. I remember doing a reading, and my part was kind of small that week, and I commented on it, and the next week, they cut me out of the show. So I learned that you never ask questions. In TV, you always assume you're going to be fired.
The first time I did a reading/signing thing at Cody's, the woman who did the introduction said something like that, and I wasn't the only one cringing. I remember looking out into the audience and seeing people's faces and people whispering to each other, and thinking like "Ugh, can we just cancel the whole thing? I can't go out there after she said that."
It wasn't until I started reading the history of religion that I understood that the definition of Christianity has shifted in many different directions over time, and the mainstream view today certainly doesn't have any exclusive ownership of what being a Christian means. Realizing that freed me to use the terminology without needing to be tied down to it.
The strength of film is its accessibility and immediacy. But the strength of books is that freedom to really depict anything you want because people are going to be reading it in private. So, I'm always trying to write with the immediacy and the constant motion of film but I'm also trying to write with the complete freedom of subject matter that books have.
I'm an expert at killing time on planes now. I do a lot of reading. My secret sort of nerdy side is I'm quite into history so I read a lot of history books. Now I write for a few things and I've had a few history things published, which is cool. I indulge my nerdy side and it's kind of as far away as you can get from the acting world so that's nice as well.
As any war veteran will tell you, there is a vast difference between preparing for battle and actually facing battle for the first time. You can be told that reading Victor Hugo will sap your will to live, but you can't understand what it means until you've read a few chapters and your eyes are glazed over and someone has to revive you with a defibrillator.
The truth is . . . that the great artists of the world are never puritans, and seldom ever ordinarily respectable. No virtuous man - that is, virtuous in the YMCA sense - has ever painted a picture worth looking at, or written a symphony worth hearing, or a book worth reading, and it is highly improbable that the thing has ever been done by a virtuous woman.