Quotes of All Topics . Occasions . Authors
Despite everything, Trump remains what he's always been, an outsider who is completely not just underestimated, but misunderstood by all of those in Washington who are still trying to find a way to plug him into their system, and that's never gonna work out. They're never gonna understand him if that's how they approach it.
It was practically with people with strings. There was no CG involved, it was just painfully taking Collin [Farrell] and Jessica Biel and putting them upside-down, we built the set upside-down and just try to twist perspective to make it all seem like zero gravity. And it was one of the most difficult things I've ever shot.
The price of a solar panel keeps plummeting, which is why it is so absurd to watch Donald Trump try to somehow revive the expensive and dirty coal industry. We are ready to go, and now we have got I think what is going to be the flag around which progressives rally. Nothing less than 100 percent of renewable energy will do.
Sometimes it's a little overwhelming to take on other people's stories, that's just the kind of person I am, maybe I'm empathetic to a fault, I internalize a lot, so it can be a bit hard sometimes, but I understand that that's what they need, and if I can do it, then I'll do it, but if I can't, then I'll try to take a knee.
There's a gap between what I want to do, what I do on camera, and what gets edited. Right? So the goal is to try and close the gaps. What's the biggest compliment is if I read a review and it's exactly what I wrote down in my diary before ever filming it. That's really cool. That's the biggest signifier of closing the gaps.
Basically, I'm going to take what you did, the bare-bones structure of what you were trying to do, how you were attacking the song, and attack it in pretty much the same way, just with more intensity to show you that you could've come harder. Like, I've been in situations where I've had to tell a cat how to rhyme his rhyme.
I believe that every single one of us, celebrity or not, has a responsibility to get involved in trying to make a difference in the world. Our generation faces many challenges, some of which were passed on to us by the past generations, but it's up to us to find solutions today so that we don't keep passing our problems on.
The whole world is nothing but a noise, as hot as the inside of a tiger's mouth. They call it civilization - that is a lie! But some day you may have to go out, someone will try to take you out, and you will not understand them or what they are saying, unless you understand nothing, absolutely nothing, then you will manage.
Well, nobody's being deported - nobody - practically. And so what the people down there getting is the American government is telling us that you're not going to be able to stay. But, in fact, they're letting almost everybody stay. And so what they're trying to do is show that at least some people are going to get deported.
I had to do things to myself on the page that had been done to me in real life. I had to try and drown myself in the bath. You have to do that. And the impulse is to rescue yourself and to spare the reader, but I can't rescue myself. And why should I spare the reader when nobody spared me? It's telling people what happened.
I was always enjoying the moment. Acting, writing, looking for roles and getting involved with people and trying to create something that would be entertaining to people. With 'E.R.,' we were all very lucky to get this combination of people together in the right story in the right way to take it to the level it has reached.
I'm trying to figure myself out through my movies. Whether it's big stuff like what we're doing here, or little stuff like why aren't I happier? With every film I feel like I'm apologising for something. I feel I'm most successful when I'm looking for something that embarrasses me about my character that I'd like to expose.
Life can only be understood backwards but you have to live it forward. You can only do that by stepping into uncertainty and by trying, within this uncertainty, to create your own islands of security....The new security will be a belief that ...if this doesn't work out you could do something else. You are your own security.
I'm always open. I try not to have a closed mind. In fact the only reason why I'm able to continue to make films since 1986 is I have been adaptable. If I weren't flexible I sure wouldn't be making films this many years as I've been doing it. I've been making a film a year almost since 1986 and that's hard. That ain't easy.
Moral Injury is differentiated from PTSD in that it directly relates to guilt and shame veterans experience as a result of committing actions that go against their moral codes. Therapists who study and treat moral injury have found that no amount of medication can relieve the pain of trying to live with these moral burdens.
Even though she's dealing with a scar, Emily just carries on with life. It's not a big deal. While we were shooting the scene, I tried it different ways. I tried it where I was hiding my face, and Chris [Weitz] was like, "Let's try it where she doesn't care," and that's who she is. She doesn't care what anybody else thinks.
When I think of my past, I try to dwell on the good times, the happy moments, and not to be haunted by the bad. . . To me the gift of life is contained in the command, whatever happens: "Don't let it get you. Just keep on going." Thus, I try to think of the good that I have already experienced and what will still be coming.
In the old days, you could segment happily. You could put out one message to one segment of the audience, and one to another. That has now gone. You say something to one community and instantly, literally at a click, it's available to everybody. What it means is that if you're trying to craft a message, it's very difficult.
In the theater, actors are the essential element of the work. In a film, it's a real collaboration - not that theater isn't, because it is - but it's a collaboration to such an extent that you can give a performance in film that sometimes you look at and you go, "Well, that's not the performance I was trying to give at all."
If you are uninterested in what I say, there's an end to it. If you like what I say, please try to understand which previous influences have made you like it. If you like some of the things I say, and dislike others, you could try to understand why. If you dislike all I say, why not try to find out what formed your attitude?
Writing has to do with truth-telling. When you're writing, let's say, an essay for a magazine, you try to tell the truth at every moment. You do your best to quote people accurately and get everything right. Writing a novel is a break from that: freedom. When you're writing a novel, you are in charge; you can beef things up.
The first thought that I had about really trying to get sober was, 'Man, I could do a lot of good in the world. I can lead by example and just be this heroic recovery guy.' And that's just a bad reason to get sober. You can't get sober for anybody's benefit, let alone the world at large. You really got to do it for yourself.
Each situation is different... Each situation, I'm a different person I guess. He's present; the actors are present; and you just work in that moment, trying to flush it out. We have history from Assassins and Wicked, but it's always new beginnings between us. You start off fresh and that's what I like and respect about him.
Before I studied story, I was trying to write a novel, and it was terrible. It wasn't going anywhere, and I couldn't figure out what I was trying to do. It was really hard; much harder than I thought it was going to be. Now that I've studied story, I think I'd have a different approach and maybe I could actually get it done.
We try to prevent the creation of artificial rents. Rather than setting up quotas to stop imports we levy a tariff, that would be better. Or we pay wages in the public sector which are roughly equivalent to the productivity in the private sector and we don't therefore make it a special benefit to get a bureaucratic position.
Most people who've never experienced non-ordinary states of consciousness and only hear them described tend to try to describe them in terms of the logical, rational way of looking at things, the so-called scientific explanation, which often leaves a lot lacking and doesn't really fulfill understanding the experience at all.
Whether we had a (good) moral intuition more developed, we would be as much morally disgusted by the rapacity of those who try to benefit from, and monopolize (or secure or corner), having no consideration (regardless or irrespective of) for others ("autrui", Fr.), than we physically are by a sickening (or nauseating) smell.
I have told somebody in court that 'I understand yours is the most important case in the world, and I'm trying to treat it as the most important case in the world, but five minutes from now I'm going to be dealing with the next person's most important case in the world.' For every litigant, theirs is the most important case.
Bob Dylan had been a big sort of presence in my life but I'd never quite registered what he was trying to tell me. He was always this kind of figure, a sort of bear-like figure in the corner of the room. You know, every time I imagined what Bob Dylan looked like, he looked a bit like Steve Earl used to look - with the beard.
The first thing you do as a producer is you try to understand the director's vision in as deeply a way as you can. Sometimes, you end up with a director that has more vision or sometime they have less vision. You hope that they have more. In the case where they have more, you need to understand it in the deepest way you can.
The business models in enterprise have changed pretty dramatically. A huge problem with enterprise software traditionally has been usually you sell to the customer and then they adopt the technology. The great thing about 'freemium' and the new way enterprise software is being sold is you get to try it first and then buy it.
Some folks ask me what the transition was like from NASCAR reporter to political reporter. It's easy. In one, you try to explain to your readers the significance of grown-ups getting paid exorbitant amounts of money to go around in circles indefinitely, always turning left. In the other, you get to interview racecar drivers.
I've always found that when you're trying to create illusions with sound, especially in a science fiction or fantasy movie, that pulling sounds from the world around us is a great way to cement that illusion because you can go out and record an elevator in George Lucas's house or something, and it will have that motor sound.
My favorite thing is when I go back and my mother cooks for me. Because it just throws me back the same flavor. And I try to modify things: I say, "Why don't you do this and that?" My mother is older, but she cooks a lot, and she doesn't want to change anything. She's a very good cook, and my grandmother was an amazing cook.
I don't like to be constrained to any one medium. I like to surprise and amuse - and indeed, torture - myself by weaving back and forth between images and words of all sorts, and trying to create work in the end that feels "of a piece." This is why I resist calling myself a "cartoonist." It doesn't seem to describe what I do.
When I find too many puzzles about the way explanations are given about why there is inequality - why people who work the hardest in the world end up being the poorest - I can't just sit back and not try to understand why the gaps between people are increasing, or why there are so many homeless and hungry people in the world.
No matter who weaves in and out of your life, regardless of the quality of those deep friendships and familyships, I'm the only common denominator at this point who's been with me the whole time. And there's this sense of trying to make sense of that ultimate solitude. It's not a negative or even a positive. It's just a fact.
The core of the person is what he or she loves, and that is bound up with what they worship - that insight recalibrates the radar for cultural analysis. The rituals and practices that form our loves spill out well beyond the sanctuary. Many secular liturgies are trying to get us to love some other kingdom and some other gods.
It has been said that genius is only the power of making continuous effort. The line between failure and success is so fine that we scarcely know when we pass it. We are told that there is no failure, except in no longer trying - no defeat, except from within, no really insurmountable barrier save our own weakness of purpose.
The solution to a problem - a story that you are unable to finish - is the problem. It isn't as if the problem is one thing and the solution something else. The problem, properly understood = the solution. Instead of trying to hide or efface what limits the story, capitalize on that very limitation. State it, rail against it.
I try and shoot as often as I can, I cross shoot. I have at least two cameras rolling at the same time. So I'll have two actors or two sets of actors at a time so everybody's basically on camera. So when they improvise we have everybody's coverage. And you can then go in the editing room and find the energy still stays there.
As far as U.S. intelligence knows, Iran is developing nuclear capacities, but they don't know if they are trying to develop nuclear weapons or not. Chances are they're developing what's called 'nuclear capability,' which many states have. That is the ability to have nuclear weapons if they decide to do it. That's not a crime.
As individuals, we have to act independently of the politics at hand. I don't feel an added responsibility to do anything more beyond being who I've always been and acting decently. I've always felt people are looking down on us and expecting us to fail. That's enough of a burden, and we automatically try to act with dignity.
God dealt with our whole situation on the cross; there is nothing left for you to settle. Just say to Him, 'Lord, I cannot forgive and I will no longer try to do it; but I trust that You in me will do it. I can't forgive and love; but I trust that You will forgive and love in my place and that You will do these things in me.'
The surface of the pond was green with fallen leaves. "How could you have been happy there? I know what you thought, but Valentine was a terrible father. He killed your pets, lied to you, and I know he hit you- don't even try to pretend he didn't." A flicker of a smile ghosted across Jace's face. "Only on alternate Thursdays.
I have one friend to whom I've told more than I've ever told anyone, and yet there are significant territories I have and will never let him access - in large part because I'm trying to protect him, and one of the responsibilities of loving someone is protecting him or her, even if who you're protecting them from is yourself.
If the script's good, everything you need is in there. I just try and feel it, and do it honestly. I also don't learn things for auditions, because I feel like it's just a test of memorizing rather than being real. Maybe every other actor would think that was terrible, I don't know. But it seems to have worked for me, so far.
Being is accessible to you now as your own deepest self, your true nature. But don't seek to grasp it with your mind. Don't try to understand it. You can know it only when the mind is still. When you are present, when your attention is fully and intensely in the Now, Being can be felt, but it can never be understood mentally.
You need a constant money source to live in New York City unless you're independently wealthy, which I'm not. But, from writing about art, I had met some artists in L.A. They said, "Why don't you try living out here?" So I traded apartments with the painter Delia Brown. That was in 2003. I loved it. I still love living there.
We try not to waste food in general. Because as a meat eater it's just responsible to eat as much of the animal as you can. It's also instilled in my family culture, where it's not even an ethical thing, it's just that all those parts are delicious, too. You eat the ears, you eat the intestines, you eat the livers, the hearts.