Quotes of All Topics . Occasions . Authors
New approaches are needed, new orientations in both thought and action. We must make the transition to a new civilization...We are talking of a transition toward a new civilization. No one knows what it will be like. What is important is to orient in that direction... I am convinced that a new civilization will inevitably take on certain features that are characteristic of, or inherent in, the socialist ideal.
Language is never fully trustworthy, but when it comes to eating animals, words are as often used to misdirect and camouflage as they are to communicate. Some words, like veal, help us forget what we are actually talking about. Some, like free-range, can mislead those whose consciences seek clarification. Some, like happy, mean the opposite of what they would seem. And some, like natural, mean next to nothing.
I was a young feminist in the '70s. Feminism saved my life. It gave me a life. But I saw how so much of what people were saying was not matching up with what they were doing. For example, we were talking about sister solidarity, and women were putting each other down. We were talking about standing up for our rights, and women weren't leaving abusive relationships with men. There were just so many disconnects.
My mother always accused me of being in love with the sound of my own voice. When we went on road trips, she'd be like, 'Stop singing. Be quiet, you're talking just to hear yourself speak.' It was probably true. I like to ramble on, which is probably why I'm well suited to interviews. You know, there's no other forum where you're literally supposed to sit down and just talk for hours about yourself. I love it.
It's really a trade-off: you're always having to decide whether you're going to say the more ambitious thing, and lose a little clarity - or are you going to say something really clearly, and sacrifice a little nuance? Get too obscure, and you sound like a pretentious asshole; go overboard with the clarity, and you sound like you're talking down to your audience, or like you yourself are a reductive simpleton.
Photographers do themselves a disservice by talking too much about the equipment they use. Consequently people don't take them seriously as creators in their own right. When people talk to writers about their work, they ask about their ideas and inspirations. When they talk to photographers, they ask about what cameras or film they use. That's wrong - as wrong as asking a writer what pencil and laptop he uses.
Once you have tasted the nectar of Silence, then whether your eyes are open or closed does not matter. Once you have tasted the nectar of that dimension, then it does not matter whether you are sitting in a room or working in an office or the kitchen or talking to people. The quality of aloneness, the quality of motionlessness, the quality of thoughtfreeness does not get affected by physical or verbal movement.
The thing about being on the majors, from the beginning, going into this, I was like, "I'm not going to be treated like a factory," because that's never the way it was done before. You're talking about a major label, we're talking about serious business; you're not an artist anymore, you're a business, you have to work in terms of product, you have to release a product, and I don't really think that way at all.
I've never had a block. I'm talking within the limits of my abilities. But in my own small way, I've had an embarrassment of riches. I'll have five ideas and I'm dying to do them all. It takes weeks or months where I agonize and obsess over which to do next. I wish sometimes someone would choose for me. If someone said, Do idea number three next, that would be fine. But I have never had any sense of running dry.
Younger people who are being indoctrinated into the contemporary system of falsification - they really have to do some research to find out what is the truth. In the general population, people forget or don't care that much. And gradually what you hear drilled into your head everyday comes to be believed. People don't understand what you're talking about any more if you discuss the American war on South Vietnam.
We don't like to use the phrase "state security" in the United States because it reminds us of all the bad regimes. But it's a key concept, because when these officials are out on TV, they're not talking about what's good for you. They're not talking about what's good for business. They're not talking about what's good for society. They're talking about the protection and perpetuation of a national state system.
I've been in America for almost ten years. I've had many parts of the American experience. I've been all over this country and seen many different parts of it. It's just that I'm not an American. I've never become an American. I'm talking about the whole thing-psychologically, citizenship, the whole trip. Of course I've definitely been influenced by America-I'm definitely influenced by the music and the culture.
Nature is located mainly in national parks, which are vast tracts of wilderness that have been set aside by the United States government so citizens will always have someplace to go where they can be attacked by bears. And we're not talking about ordinary civilian bears, either: We're talking about federal bears, which can behave however they want to because they are protected by the same union as postal clerks.
The notion of the enduring authority focuses on the fact that some people think that notions like authority of Scripture's is passé, while others say that the present configuration of the doctrine of inerrancy is a late addition. And to both we want to say, No we're talking about the enduring authority of Scripture, grounded first and foremost in its relevatory status, something given by God and utterly reliable.
I'm not blessed, or merciful. I'm just me. I've got a job to do, and I do it. Listen: even as we're talking, I'm there for old and young, innocent and guilty, those who die together and those who die alone. I'm in cars and boats and planes; in hospitals and forests and abbatoirs. For some folks death is a release, and for others death is an abomination, a terrible thing. But in the end, I'm there for all of them.
We break our huddle and Eight immediately transforms into one of his massive avatars. His handsome features melt away, replaced by the snarling face and golden mane of a lion. He grows to about twelve feet, ten arms sprouting out of his sides, each of them tipped with razor-sharp claws. Nine whistles through his teeth. 'Now we're talking,' Nine says. 'One of your parents must've been a chimæra. Probably your mom.
I am often talking about the ideas collected in Normal Life in contexts that are not academic, or that are full of people who are not primarily engaging as theorists or theory-readers. Being able to make ideas visual, especially critical ideas about movements that can be difficult to hear because of attachments we have to certain national narratives, or because of ways that we see ourselves, is especially useful.
Sometimes you're noodling around with a sketch and something incongruous in the drawing calls forth the caption and other times you think of a line and just have to find a place for it. A cartoon with a caption like "I don't want to live forever, but I sure as hell don't want to be dead forever either" sprang into my head and I just had to find the right venue for it which was an old couple talking to each other.
It is not always easy to diagnose. The simplest form of stupidity - the mumbling, nose-picking, stolid incomprehension - can be detected by anyone. But the stupidity which disguises itself as thought, and which talks so glibly and eloquently, indeed never stops talking, in every walk of life is not so easy to identify, because it marches under a formidable name, which few dare attack. It is called Popular Opinion.
I call God ECCO (Earth Coincidence Control Office) . It's much more satisfying to call it that. A lot of people accept this and they don't know that they're just talking about God. I finally found a God that was big enough. As the astronomer said to the Minister, My God's astronomical. The Minister said, How can you relate to something so big? The astronomer said, Well, that isn't the problem, your God's too small!
...one of the most inventive forms of creative capitalism involves someone we all know very well. A few years ago, I was sitting in a bar here in Davos with Bono. Late at night, after a few drinks, he was on fire, talking about how we could get a percentage of each purchase from civic-minded companies to help change the world. He kept calling people, waking them up, and handing me the phone to show me the interest.
Because I'm moved in writing to be irrepressible. Writing to you seems like some holy cause, cause there's not enough female irrepressibility written down. I've fused my silence and repression with the entire female gender's silence and repression. I think the sheer fact of women talking, being, paradoxical, inexplicable, flip, self-destructive but above all else public is the most revolutionary thing in the world.
A lot of environmental and biological science depends on technology to progress. Partly I'm talking about massive server farms that help people crunch genetic data - or atmospheric data. But I also mean the scientific collaborations that the Internet makes possible, where scientists in India and Africa can work with people in Europe and the Americas to come up with solutions to what are, after all, global problems.
I was watching an interview with Martin Scorcese concerning Raging Bull, which is one of my favorite films, and he was talking about how he'd worked with a lot of guys who weren't quote-unquote "actors," like Joe Pesce and Frank Vincent. Scorcese was very smart in the way that he cast, because you don't know where you're going to find the right person who can carry a role and summon that emotion you're looking for.
Somehow, the agenda has been put into the form of talking about a set of transitions from state A, the present, to a state B that's sustainable. The problem is that there is no such state. You have to assume that the transitions are going to continue forever and ever and ever. You have to talk about systems that are continuously dynamic, and that are embedded in environments that themselves are continuously dynamic.
At no time in the past, now or in the future has or will Russia take any part in actions aimed at overthrowing the legitimate government. I'm talking about something else right now - when someone does this, the outcome is very negative. Libya's state is disintegrated, Iraq's territory is flooded with terrorists, it looks like the scenario will be the same for Syria, and you know what the situation is in Afghanistan.
If Congress were to pass a 'flat' tax, you'd simply pay a fixed percentage of your income, and you wouldn't have to fill out any complicated forms, and there would be no loopholes for politically connected groups, and normal people would actually understand the tax laws, and giant talking broccoli stalks would come around and mow your lawn for free, because Congress is NOT going to pass a flat tax, you pathetic fool.
Let's talk about the artist's desire to go beyond the pictorial or the representational and the desire to create the abstract - the idea that painting can go beyond what is seen. What we found is that, increasingly, painting became about paint, its own material truth. When I'm talking about the way that we look at others and the way that we see ourselves increasingly, looking at others becomes its own material truth.
Miami, which has already aired, has this wonderful blend of Caribbean culture and Latin American culture and Southern American culture (talking about fried chicken). All those combine to make for a very very interesting array of ingredients, restaurants, and the chefs that come there. It also has great seafood, not to mention the glorious citrus that's there. And all those things inform what you do - and they should.
I had a total revelation with the feminist moment, with Carolee Scheeman and Marina Abromovic and of course Joan Jonas; that was a big breakthrough with me. And through them, I was introduced to Chris Burden and Bruce Nauman and Vito Acconci. You can almost call it a gang, because the works are always talking together. That stuff had a huge impact on me, but other than that, my interest had always been old paintings.
Basically I made her [ Sara Pocock] listen to funk music for a good month, a nonstop stream of George Clinton. I was talking about the art from...if you look at the art from George Clinton albums there are two or three artists he worked with...I made her listen to my album too so all the images are from jokes I made. I wanted it to look like the thoughts that are coming out of my brain which is what comedy is anyway.
I was born in Cuba. At the age of 14 years of age I was involved in a revolution. We were suffering from a very cruel, oppressive dictatorship, and the revolution started in the high schools and the universities. So when I was 14, I was involved in the revolution. I was in the revolution four years. During that time, a young, charismatic leader rose up in Cuba, talking about hope and change. His name was Fidel Castro.
I did 40 voices for Chris Wedge, the director of the first film, before coming up with the version we used. He was hard to please, I don't know why. I gave him really slow talking voices. then I thought perhaps Sid could be an Indian sounding sloth. To find out more about my character, I watched footage of sloths. I discovered that the food they store in their pouches rots and ferments and half the time they're drunk.
Out of hate, if you try to love that love will just be a hidden hate; it cannot be anything else-you are full of hate. Go to the preachers and they will say, "Try to love." They are talking nonsense because how can a person who is full of hate try to love? If he tries to love, this love will come out of hatred; it will be poisoned already, poisoned from the very source. And this is what the misery of all preachers is.
I really do think how we frame things determines so much of our experience, and I've been talking to a lot of oncologists, like, why don't we call them transformation suites and give people transformation juice and have guides that support people when they're going through chemo so you could actually burn away what needs to be burned away, as opposed to this dread, terror, horror, which is a very different experience.
Everyone thinks that courage is about facing death without flinching. But almost anyone can do that. Almost anyone can hold their breath and not scream for as long as it takes to die. True courage is about facing life without flinching. I don't mean the times when the right path is hard, but glorious at the end. I'm talking about enduring the boredom, the messiness, and the inconvenience of doing what is right. ~Amber
We stand there for a moment, looking at each other, and in that instant I feel our connection so strongly it's as though it achieves physical existence, becomes a hand all around us, cupping us together, protecting us. This is what people are always talking about when they talk about god: this feeling, of being held and understood and protected. feeling this way seems about as close to saying a prayer as you could get.
If we're talking about buying exchanges abroad, we have to have global securities standards, as we have global banking regulations. I'm talking about margins. Now, the United States has certain margin requirements that are not the same in London. Investors and hedge funds that want to borrow more money against securities ? if they can't in the U.S., they go abroad. That could add additional risks to the global economy.
I don't know whether God exists or not. ... Some forms of atheism are arrogant and ignorant and should be rejected, but agnosticism—to admit that we don't know and to search—is all right. ... When I look at what I call the gift of life, I feel a gratitude which is in tune with some religious ideas of God. However, the moment I even speak of it, I am embarrassed that I may do something wrong to God in talking about God.
The kind of organic wave, the way that waves move, and I'm not just talking about feminism, the way that a social movement might rise like a wave. It's harder to build any kind of wave now. Things are important to you and then they recede within a day. That's the only thing that keeps me from believing that there's going to be any one organic big wave; although the Americana (music) thing has been happening for a while.
Because if you remember - and people forget this - the first two years of Game of Thrones everybody was going, "I don't know what's going on, but I really like it." And you really didn't know what to make of a lot of people, and now it's changed and people aren't really talking about that. Now it's like you're watching West Wing or Friends, you know the characters and you're like, "What in the world is going to happen?"
Not my idea of God, but God. Not my idea of H., but H. Yes, and also not my idea of my neighbour, but my neighbour. For don't we often make this mistake as regards people who are still alive -- who are with us in the same room? Talking and acting not to the man himself but to the picture -- almost the précis -- we've made of him in our own minds? And he has to depart from it pretty widely before we even notice the fact.
We [with John Logan] started talking about The Searchers, and then he went on to tell me a story about when he first met John Wayne, and he said, "Hey, you be me and I'll be Wayne," and I said, "No, let me be Wayne!" Anyway, it was a very pleasant conversation, it was clear to him that I was a big movie fan, and by the time I got home, there was a phone call, asking if I'd mind doing one scene in the movie [The Aviator].
If I'm not directing it, I need to be right in the director's ear so we can be talking about this." You do something like use the wrong music, the tone's off, and everything feels off". And I was like, "I'm not going down with this one. I wrote it, but I don't like that play." Then I thought, "Well, no one's producing my stuff, letting me star in it, and direct it at these theaters, so I'll just do them in comedy clubs."
What about Isabelle?" Simon asked. "Where is she?" The humor, such as it was, left Jace's expression. "She won't come out of her room," he said. "She thinks that what happened to Max was her fault. She won't even come to the funeral." "Have you tried talking to her?" "No," Jace said, "we've been punching her repeatedly in the face instead. Why, do you think that won't work?" "Just thought I'd ask." Simon's tone was mild.
And James L. Brooks then sort of became our mentor, brought us out to Los Angeles and worked on the script for a year with us. We learned so much working with him - just being able to spend time with him, the quality of his mind, the things he comes up with and says. I think Wes [Anderson] and I could go to dinner tonight and spend the whole dinner thinking and talking about things that Jim has said to us over the years.
We are not shrinking from talking to Saudis or anyone else in the region, but it is up to each nation in the region to decide on its own how it will proceed and at what pace. There are other nations in the region that had similar policies to Saudi Arabia that are starting to make changes, such as Bahrain, Kuwait, Qatar, Morocco. And so it takes time but when you see the need for such changes, then changes tend to follow.
Many people have the impression that there is significant scientific disagreement about global climate change. It's time to lay that misapprehension to rest. There is a scientific consensus on the fact that Earth's climate is heating up and human activities are part of the reason. We need to stop repeating nonsense about the uncertainty of global warming and start talking seriously about the right approach to address it.
If you can somehow force a liberal into a point-counterpoint argument, his retorts will bear no relation to what you’ve said - unless you were in fact talking about your looks, your age, your weight, your personal obsessions, or whether you are a fascist. In the famous liberal two-step, they leap from one idiotic point to the next, so you can never nail them. It’s like arguing with someone with Attention Deficit Disorder.
He knew who I was, at that time, because I had a reputation as a writer. I knew he was part of the Bush dynasty. But he was nothing, he offered nothing, and he promised nothing. He had no humor. He was insignificant in every way and consequently I didn't pay much attention to him. But when he passed out in my bathtub, then I noticed him. I'd been in another room, talking to the bright people. I had to have him taken away.