Quotes of All Topics . Occasions . Authors
Kant regards the universalizability test for maxims as focused on a very special sort of situation: one where the agent is tempted to make an exception to a recognized duty out of self-preference. The universalizability test is supposed help the agent to see, in a particular case of moral judgment, that self-preference is not a satisfactory reason for exempting yourself from a duty you recognize. Kant thinks, as a matter of human nature, that this situation arises often enough and that we need a canon of judgment to guard against it.
Our consumer economy peddles the notions "romantic consumerism" of finding "the one," of being the one. It's the narcissistic enhancement of, "I'm the one you stopped your nomadic life for." It's one thing when you have sex for the first time when you marry, but it's another thing altogether when you stop having sex with others when you marry. So the marital commitment becomes, "I must be really special. With me, you no longer think you can find better next door." Romantic consumerism is thinking you can't find better, younger or newer.
One of the big misconceptions is that affairs or trysts are flings about sex. And sometimes they are, but much more often they are about desire. And that is very different. The desire to feel special, to feel seen, to feel appreciated, to be laughed at or with. The desire to be desired. That does not manifest in a sexual act per se. Affairs make you feel alive. Alchemy means it's not about the actual sex, but the sexuality, the energy, the aura. It's the imagination and anticipation of it as much or instead of the actual experience of it.
I think Alexander McQueen was very, very special. When I went to his first show, I couldn't speak because I was so enthralled. I was saying to myself, "What am I looking at here? What's going on here?" Because, I'm really a loner. I've been a loner for a long time, because I guess I prefer that. For me to get the best out of myself, I have to trust my judgment. And so while watching an Alexander McQueen collection, I would feel isolated. Even though I was surrounded, I would still feel isolated by what I was looking at, if that makes sense.
I'm very fortunate, and the movies that I've made, even from the very beginning, have been very eclectic. The thing for me is: Am I emotionally engaged in the idea? Is there something special about it? Does it capture my imagination? So everything that I do is simply something that turns me on. And I have the good fortune to be able to make bigger movies and television that ostensibly pay for the other ones. I don't mean literally finance the movies. But they allow me to work on things for very little pay. I do these things because I love them.
You have to remain strong. That's the kind of filmmaker I want to encourage. Orson Welles was the one who said, you know, you can learn anything you need to know about filmmaking- that's camera, sound, celluloid, video at this point- in four hours. It has nothing to do with anything. It has nothing to do with it... It has to do with what you want to say. If you feel you have something to say, you'll find that way to get it said, on film, and not let anyone or anything chip away at that or tarnish it, because it's something special and precious.
Speak up,' says Myrna who has a fuzzy white caterpillar of a moustache. 'My hearing's not so good.' 'I WAS SHOT IN THE HEAD.' Liz turns to Thandi. 'I thought you said you didn't remember how you got the hole in your head.' Thandi apologizes. 'I just remembered.' 'Shot in the head!' Florence-scratchy-voice says. 'Oy, that's rough.' 'Aw, it's nothing special. Happens pretty regularly where I'm from,' Thandi says. 'WHAT?' asks Myrna with the moustache. 'Say it toward my left ear, that's the good one.' 'I SAID, "IT'S NOTHING SPECIAL,"' Thandi yells/
In myths and movies, the mentor can play a few roles: they bring the hero a magical gift, teach them how to use a special tool, or help the hero get unstuck. In a presentation setting, the presenter is the mentor. Our role as a presenter is similar to a mentor. We should be brining something of important value to our audience, they should not leave empty handed. There should be something useful and somewhat life-altering that we give them. It's not very often that we sit through a presentation and feel like we've sat at the feet of a mentor, but we should.
As to those other things which we hold on the authority, not of Scripture, but of tradition, and which are observed throughout the whole world, it may be understood that they are held as approved and instituted either by the apostles themselves, or by plenary Councils, whose authority in the Church is most useful, e.g. the annual commemoration, by special solemnities, of the Lord's passion, resurrection, and ascension, and of the descent of the Holy Spirit from heaven, and whatever else is in like manner observed by the whole Church wherever it has been established.
The authorization I propose would provide the flexibility to conduct ground combat operations in other more limited circumstances, such as rescue operations involving U.S. or coalition personnel or the use of special operations forces to take military action against ISIL leadership, it would also authorize the use of U.S. forces in situations where ground combat operations are not expected or intended, such as intelligence collection and sharing, missions to enable kinetic strikes or the provision of operational planning and other forms of advice and assistance to partner forces.
If we apply the term revolution to what happened in North America between 1776 and 1829, it has a special meaning. Normally, the word describes the process by which man transforms himself from one kind of man, living in one kind of society, with one way of looking at the world, into another kind of man, another society, another conception of life.... The American case is different: it is not a question of the Old Man transforming himself into the New, but of the New Man becoming alive to the fact that he is new, that he has been transformed already without his having realized it.
I don't want to be like the actor who rehearses everything in the bathroom, then comes to the set and carries on completely uninterrupted while the other actors tiptoe away. I'm so dependent on reacting to the other actors on the set, and to the director. I'm very responsive. I react. And I treasure the energy that reaction gives. I feed off that and work off that. I don't like to be too prepared, no. However we define too prepared, if I feel it's getting that way, then I'll back off. My line-learning is very special. I like to learn the dialogue of the whole film before I arrive.
To refer the power in question to the clause "to provide for the common defense and general welfare" would be contrary to the established and consistent rules of interpretation, as rendering the special and careful enumeration of powers which follow the clause nugatory and improper. Such a view of the Constitution would have the effect of giving to Congress a general power of legislation instead of the defined and limited one hitherto understood to belong to them, the terms "common defense and general welfare" embracing every object and act within the purview of a legislative trust.
On September 11 one of the messages on our answering machine was from The New Yorker saying get down here right away for a special issue we'll be doing. That seemed so irrelevant to me, considering the cataclysm. I went to my studio for a while and I was processing the news. Because when we were in the thick of it, it just felt like Mars Attacks!, Is Paris Burning?, and I had no perspective. For a while, I thought I should go down and look for bodies. At the same time, since The New Yorker was looking for images, I thought, "Well, I'm more trained to look for images than for bodies."
