Quotes of All Topics . Occasions . Authors
There's no way to escape the fact that we've grown up in a violent culture, we just can't get away from it, it's part of our heritage. I think part of it is that we've always felt somewhat helpless in the face of this vast continent. Helplessness is answered in many ways, but one of them is violence.
I have a hard time with awards shows in general because I've never been part of the conversation. I just show up to work and do my job because I love the job and I love the people I get to make TV with. When someone wants to applaud it more than just watching it, that makes me somewhat uncomfortable.
I want to write my own stuff, and, you know, it would be nice to put myself in it. But I would like to hope that there are going to be better roles offered as well and that I don't need to do everything. You know, like, I appreciate my career being somewhat DIY, but it would be nice to get some help.
It seems to me a worthy goal: try to create a representation of consciousness that's durable and truthful, i.e., that accounts, somewhat, for all the strange, tiny, hard-to-articulate, instantaneous, unwilled things that actually go on in our minds in the course of a given day, or even a given moment.
When confronting most crises, whether historic or contemporary, aid agencies generally muddle along on a case-by-case basis. They weigh insufficient information, extrapolate somewhat blindly about long-term pros and cons, and reluctantly arrive at decisions meant to do the most good and the least harm.
Toward the middle and end of the Fifties, West European countries became somewhat more important as providers of aid to underdeveloped countries. It was partly due to the prodding of the United States that these countries, as they regained economic viability, should shoulder their share of the aid burden.
No one likes to be criticized, of course, but if the things we successfully strive for do not make our future selves happy, or if the things we unsuccessfully avoid do, then it seems reasonable (if somewhat ungracious) for them to cast a disparaging glance backward and wonder what the hell we were thinking.
There is a sense in which we have - like, I go in to teach a class; I may be somewhat different than I would be talking to you, although it's related because it's public. I'm very different with my roommate or my lover or my cats. But I don't know if that means you're acting, really, if you're being truthful.
Essentially, you know, one of the great advantages of working in science fiction is it does give you an opportunity to talk about interesting and somewhat controversial themes and social issues and in a way that doesn't really threaten the audience, because I'm not challenging their particular points of view.
I'll audition for something and then the feedback has been, 'The director wants you, the creative people want you, but the studio is saying no.' It's depressing, but I understand. People are investing a lot of money and they want somewhat of a guarantee; they want someone who's been on the cover of magazines.
The stoic drama 'A Somewhat Gentle Man' is photographed in a palate of steel gray tones that match Stellan Skarsgard's complexion. It's a low-blood-pressure version of the kind of thing James M. Cain used to do in his sleep, and its filmmaking accomplishment is as minimalist as its narrative ambition is minimal.
Since Courbet, it's been believed that painting is addressed to the retina. That was everyone's error. The retinal shudder! Before, painting had other functions: it could be religious, philosophical, moral... our whole century is completely retinal, except for the Surrealists, who tried to go outside it somewhat.
I started writing 'Leaves Of Grass' when my professional life was falling apart somewhat. I just had a movie implode in pre-production. And so I came back licking my wounds to New York, where I live, and started to write a script about a protagonist for whom the exact same thing happened: His life was falling apart.
I first started doing some somewhat technology-based shows in the '80s. If you wanted to get real technical about it, back in the '70s I used to open up with Utopia with just me on the stage with a four-track tape recorder. So, technically, I've been using the help of various devices pretty much throughout my career.
I was a halfback on an American football team in Athens, Greece - the Kississia Colts - where I went to high school, and we took the Cup my senior year. The downside, and somewhat unfortunate piece of information I have to pass on, is there were only two teams in the league because of the limited amount of Americans.
As individuals, people are inherently good. I have a somewhat more pessimistic view of people in groups. And I remain extremely concerned when I see what's happening in our country, which is in many ways the luckiest place in the world. We don't seem to be excited about making our country a better place for our kids.
Tone is somewhat totalising in that, once I locate it, it tells me what kind of syntax to use, what word choices to make, how much white space to leave on the page, what sentence length, what the rhythmic patterning will be. If I can't find the tone, I sometimes try narrating through the point of view of someone else.
I think if you ask people why they watch me, there would be some common thread among all of them that I'm somewhat of an awkward older sister. I have a teen, mostly female demographic. How that happened, I don't know. But I think they see me as some sort of bizarre role model, and I'll keep trying to do that for them.
I don't think it should be a surprise when we're talking about energy and trying to have more home-grown energy, be less reliant on foreign oil when you look at our health care that we're trying to get more affordable health care, that these are going to create major debates in this country and be somewhat polarizing.
Everybody who goes into government gets somewhat chewed up in the process. Being a senior appointee is like being at a startup, only more so: You run into opposition from the entrenched oligopoly of contractors whose business model is to extract as much money from government as possible for doing as little as possible.
Often as a poet I find that I am somewhat outside an experience I want to hold onto, consciously taking mental notes or writing them down in my journal - for fear that I will forget. It's not unlike being on a trip and taking pictures, your face behind a camera the whole time - the entire experience mediated by a lens.
I found during my time covering the NHL that the enforcers were some of the most accessible guys and the most low-key guys. I think that's somewhat of a natural thing. I don't know if that's because it's the big guy that everybody fears, and then you're sort of surprised and taken by the fact that he's actually a nice guy.
Be kind. It's worthwhile to make an effort to learn about other people and figure out what you might have in common with them. If you allow yourself to be somewhat curious - and if you get into the habit of doing that - it's the first step to being open minded and realizing that your points of view aren't totally opposite.
Somewhat naively, I entered the BBC's 'New Talent Competition,' believing it was for people who had never tried comedy before. I remember sitting in the dressing room before the show and hearing the other acts - who all knew one another - talking to Rhod Gilbert about how he must be about ready to go 'full-time' as a comic.
Performing with a hologram in a three-dimensional world feels somewhat strange. But you know, the experience of playing live in a room full of people is most exciting, it's something that the social media has not been able to recreate. There's some kind of intensity about it, something that the social media doesn't capture.
'Ruined' was a play which was somewhat of an anomaly in that I did not take a commission until it was finished because I really wanted to explore the subject matter unencumbered. Otherwise, I felt as though I'd have the voice of dramaturges and literary managers saying, 'This is great, but we'll never be able to produce it.'
There are four of us, and we were all born in different cities because my dad worked all around the place. We settled in Birmingham, so I spent most of my time growing up there. We were all given very Welsh names - Geraint, Owen, Rhiannon and Gwilym. My mum's called Cainwen, and my dad is somewhat disappointingly called Tom.
It is somewhat surprising that collections of the 'hundred best books,' which usually begin with the Bible and generally include Marcus Aurelius, should give no place to the Acts of the General Councils, though mere literary works have done little beyond filling vacant hours, and these Acts have renewed the face of the earth.
People in my confirmation process, on the right and the left, really loved that idea of having someone who's going to be in meetings arguing on behalf of the dignity of people who sometimes aren't represented in meetings. But by the same token, they have somewhat unrealistic expectations that I can kind of make my own policy.
I recently discovered the work of Giorgio Manganelli, who wrote a collection called 'Centuria,' which contains 100 stories, each of them about a page long. They're somewhat surreal and extremely dense, at once fierce and purifying, the equivalent of a shot of grappa. I find it helpful to read one before sitting down to write.
We're saved somewhat by Google. You can - when you're all sitting around the table desperately snapping your fingers in the hopes of remembering the name of that movie that you can't remember the name of - you can make people think that you are not as old as you actually are because you have the technology to find the answer.
Gender used to be a barrier for women to overcome if they wanted to be in politics, but today in Taiwan the situation is somewhat different. I think there is even a preference for a woman candidate, and in local elections, we have seen that younger, better-educated female candidates are overwhelmingly preferred by the voters.
I think the legal profession is getting somewhat corrupted. When it comes to lawyers, I think it's kind of a Catch-22. On one hand, there's so much process, procedure and mess caused by the legal profession. But on the other hand, the only way to sort through all that process, procedure and mess is through the legal profession.
Is E.T. out there? Well, I work at the SETI Institute. That's almost my name. SETI: Search for Extraterrestrial Intelligence. In other words, I look for aliens, and when I tell people that at a cocktail party, they usually look at me with a mildly incredulous look on their face. I try to keep my own face somewhat dispassionate.
I think of myself as a fairly logical, scientific and somewhat reserved person. Maura Isles, the Boston medical examiner who appears in five of my books, is me. Almost everything I use in describing her, from her taste in wine to her biographical data, is taken from my own family. Except I don't have a serial killer as a mother!
John Barth, I think, was really a writer of my own age and somewhat of my own temperament, although his books are very different from mine, and he has been a spokesman for the very ambitious, long, rather academic novel. But I don't think that what he is saying, so far as I understand it, is so very different from what I'm saying.
Grief has similar side effects of alcohol consumption, such as numbness, guilt, and depression, resulting in less alert and price-sensitive customers. In addition, the funeral industry is somewhat taboo in the sense that communities in general don't communicate with one another about what are acceptable practices in this industry.
I don't know what marriages are like in general, but there are many things which I don't talk about with my husband. We discuss practical problems, but I wouldn't sit down with him and talk about the distant past. It's somewhat in contrast to other Americans, who feel that they have to confess things, but I'm really not like that.
I love the idea of things being strict and things being uniform. That's the reason why I surround each collection with humor or irony. I want to make sure that it's not too serious and that there is some element that throws it off because otherwise that would make it really boring. There's always a story that's somewhat fantastical.
When I was a little kid, I was a huge fan of 'The Kids in the Hall.' They were like my boy band. I was obsessed with sketch comedy. Being raised Christian, I was somewhat sheltered from the more radical high-art world. So to me, comedy was where people got to express themselves in an abstract way. It was a big part of my growing up.
It's nice to be thought of as attractive and all of that. On the other hand, it curtails you somewhat, too. They won't let me read for 'West Wing,' just to play, you know, a normal person. Or 'ER,' to play a doctor - the things I'm actually good at. I mean, I'm pretty good on foreign policy - they won't even let me come read for that.
Bill Clinton and Barack Obama represented somewhat different party factions, but they both embodied wonkery, a vision of competence and expertise governing to some extent above ideology, in which there are assumed to be 'correct answers' to policy dilemmas that a disinterested observer could acknowledge and the right technocrat achieve.
A glance at the history of European poetry is enough to inform us that rhyme itself is not indispensable. Latin poetry in the classical age had no use for it, and the kind of Latin poetry that does rhyme - as for instance the medieval 'Carmina Burana' - tends to be somewhat crude stuff in comparison with the classical verse that doesn't.
It is a juggling act and I have been in it for 12 years now, which is about 11 years longer than I thought I would be, and then the priority there is thinking how can I stay somewhat irrelevant so that you can continue to survive and can continue to work and put yourself in a position to get to do the work you are truly passionate about.
We, as artists, we have the right to express ourselves. That is our first amendment, freedom of speech. But I also believe that we have an obligation to the youth to be somewhat responsible in what we say on records. But I think that comes with age. I think that comes with artists growing up and becoming assured of who they are as people.
I think probably the qualities that I look for in a man are somewhat different than they were before I became a public person, but not that much different. I think that, sort of, the element of trust is certainly much bigger for me, but the other things that - the other qualities, intelligence and kindness and sense of humor, those things.
People assumed we called the record 'Murray Street' because of its proximity to the World Trade Centre, but that wasn't it at all. Before the attacks, I had simply been walking around taking pictures of things, and I had this photograph of the street sign. We felt it was somewhat evocative and decided to use it on the back cover of the album.
'Party Up' is like 'Ferris Bueller's Day Off' crossed with 'House Party.' It's basically about this kid, my character, who's this smooth, intelligent kid who's petitioning to throw this big end-of-the-year-bash house party, and so he goes and manipulating different people and ruining lives. He somewhat has a selfish heart, but he's a nice guy.
In a way, architecture is about communication. That's an aspect of the discipline that is somewhat lacking, and there's definitely room for more progression into that area. I suppose that gives me a bit of a different edge. I'm also very, very used to doing a lot of exhaustive research and finding interesting information from different sources.
All of my books have an internal geometric shape, and once I've seen the shape, then the writing gets much faster and easier because I now do know where we're going, and I know what's motivating these people, why they were here, and therefore, I have some good idea how they got there, and so I can fill in the missing chunks somewhat more easily.