Trying Quotes - Page 349

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When he (Roger Clemens) threw the bat (during Game 2 of the 2000 World Series), I basically walked out and kept asking him what his problem was. He really had no response. I was trying to figure out whether it was intentional or not. I was going to ask him. If it was, then obviously he really no had response. I was more shocked and confused than anything.

Pritkin gave me a little shake and I eyed him without favor. The only other occasions when I had been dragged back in time, the trip had been triggered by proximity to a person whose past was being threatened. I have to tell you,” I said frankly, “if someone is trying to mess with your conception or something, I’m not feeling a pressing need to intervene.

Judicial execution can never cancel or remove the atrocity it seeks to punish; it can only add a second atrocity to the original one ... So long as one sees killing as wrong there is no need to waste time with the deterrent argument, since it would be nonsense to try to prevent a theoretical evil in the future by perpetrating an actual one in the present.

We're trying our best to develop sort of strategies. We have already turned into law a labor reform law that will allow for more opportunities to ensue. We have also established a permits law that will facilitate permits in Puerto Rico. We are about to roll out a comprehensive tax reform that will enhance the base and will reduce the rates in Puerto Rico.

Why is it that when I did a weird dress in the past, people were like, 'Oh, it's niche,' and why when I do a pair of jeans that are super cool, it's much more accessible, but I enjoy doing it? I enjoy the mix of those two things. I realized that quite late, actually. I'm going to really try to express those two things at the same time, because this is me.

My career has taken so many different paths to this point that I've come to realise that we're all the same, everywhere I've been. We're all just creatures trying to tell stories as good as we can, so whether that's in a tiny theatre or as part of the biggest multi-million dollar film, we're all still just trying to tell a good story at the end of the day.

I live part-time in a cabin in Colorado up in the mountains and part-time on a ranch in central Texas - but do I really know how to go brand a cow, or do I really know how to go rappelling down a cliff? No. I do the recreational, half-assed version of all these manly activities and then try to keep that kind of Zen masculinity, like, "I'm a man of nature."

What we were trying very hard to do, just in the way we shot it, was to make it feel as if we're in that environment ourselves, just so we can get a grasp on what it is. A lot of our influence was about getting stuck on a level on any of those video games, where you find yourself caught and you can't get out, and it's maddening. We talked a lot about that.

When a person tries to act in accordance with his conscience, when he tries to speak the truth, when he tries to behave like a citizen, even in conditions where citizenship is degraded, it won't necessarily lead anywhere, but it might. There's one thing, however, that will never lead anywhere, and that is speculating that such behavior will lead somewhere.

The exciting thing about today with the Internet, streaming, and YouTube, is you can just go do it. You can go make a short and put it up, and it, very well, may be seen. You can create your own Internet series and just put it out there. It wasn't like that when I was in my 20s. People weren't doing this sort of thing - now they can and they should try it.

When I started playing solo 10 years ago, I had some ham-fisted idea about trying to subvert the "singer-songwriter" tag/genre, and I tried to obscure my identity into the identity of a collective or band or whatever. That's part of the reason that I used to play with backing tapes and why so much of my early stuff was so awash in tape hiss and echo noise.

You may be trying to attain power in this world, then you start trying to attain power in that world. First you want to attain wealth in this world, then you try to attain wealth in that world. But you remain the same, and the mind and the functioning and the whole scheme remains the same: Attain! Reach! This is the ego trip. The achieving mind is the ego.

If you choose not to act, you have little chance of success. What’s more, when you choose to act, you’re able to succeed more frequently than you think. How often in life do we avoid doing something because we think we’ll fail? Is failure really worse than doing nothing? And how often might we actually have triumphed if we had just decided to give it a try?

It's rare that I'll write lyrics first. If I come up with some good lyrics, I'll write them down and try to use them later. If I come up with a song title, sometimes I'll write a song based on that. Sometimes, I'll make a whole band out of it. I don't really have a process, per se. I just keep going and going and going. Every free minute I have I'm working.

I think it's good to, especially when you start to get to achieve certain levels of success and start doing a lot of interviews and having a lot of reviews, it would be quite easy to get pretty full of yourself. I think it's an important thing to try and keep yourself in check and just be aware that popularity doesn't necessarily run in parallel to quality.

As you get older there shouldn't be anything you won't try. The payoff is that you open up whole new avenues that are fun. It's a misinterpretation of life to live it only in preparation for the next one. To subordinate the one you've got to an indefinite next round is foolish. It's a waste of this life not to live this life. What's next is anybody's guess.

It's tricky because Instagram is not Grindr. I'm always trying to show my good side. I never complain. When I have a moment of sadness, I make sure no one ever sees. And while I'm so good at talking to friends or talking about my job, if you were to ask me to dinner - just the two of us, in a romantic way - I would be the worst. I'm so shy I would not talk.

Death can come at any moment. You could die this afternoon; you could die tomorrow morning; you could die on your way to work; you could die in your sleep. Most of us try to avoid the sense that death can come at any time, but its timing is unknown to us. Can we live each day as if it were our last? Can we relate to one another as if there were no tomorrow?

I try to be aware of what I'm concerned about, aware of how I feel about myself in the world, aware of how I feel about the issues of the day, but I guess I don't want to write essays in my head about my craft and maybe it's because I teach and talk about craft of other writers as a reader. I feel the moment I start doing that is when it's going to kill me.

Definitely, there's a lot of trouble you come up against when you're acting and directing, about your performance. Sometimes it's hard to be objective about it. I will tend to get two takes and walk away. I don't belabor it, and it's important to me to have someone who says, "You know what? You should get another one, and maybe you should try it like that".

I don't try to do anything. I think the moment that I'm like, "Oh, I have to be this way or that way" is the moment that I become sad, or maybe an asshole. So I just try to be myself and put out what is most natural. But I think I am - I mean, I've seen a lot, been through a lot. But something remains sort of naïve within me. And I just try to nurture that.

I'm doing The Physicists, which is great, and I do have my agent to thank for that because a lot of agents try and talk you out of doing theatre. They don't push theatre because you can make more money doing television, whereas theatre wages are pretty shocking. But it's something I've always been keen to do and have been encouraged to do so, which is nice.

I find that as we really love and accept and APPROVE OF OURSELVES EXACTLY AS WE ARE, then everything in life works. It's as if little miracles are everywhere. Our health improves, we attract more money, our relationships become much more fulfilling, and we begin to express ourselves in creatively fulfilling ways. All this seems to happen without even trying.

That's a really sad moment. When people in a democracy are afraid of having the conversation, because it might actually lead to a conclusion they don't like, as opposed to saying, let's have the conversation, and let's learn, and, you know, let's, let me try to persuade you, and if I'm not persuading you, then you try to persuade me. That's what we hope for.

A flash of resentment. It's hard enough being alive, trying to survive in the world and find your place in it, to do the things you need to do to get by, without wondering if the thing you just did, whatever it was, was worth someone having...if not died, then having given up her life. It wasn't fair. "Life's not fair," said Ginnie, as if I had spoken aloud.

My whole life I've been a fraud. I'm not exaggerating. Pretty much all I've ever done all the time is try to create a certain impression of me in other people. Mostly to be liked or admired. It's a little more complicated than that, maybe. But when you come right down to it it's to be liked, loved. Admired, approved of, applauded, whatever. You get the idea.

There are definitely connections between poems, but I wanted each to stand on its own. I guess it goes back to the idea of trying to zoom in and out, and to modulate, so there are different ways of looking at any experience for the reader. Even having short poems and long poems - there has to be some kind of variation in the experience of reading as a whole.

Stuff I like is getting trashed and stuff that is being praised I think is terrible. I don't really feel in sync with what's happening, but at the same time, what I think keeps me afloat is that I try not to be, and don't want to be, very indulgent. I try to make the films as lean as possible, and to not spend a lot of time crawling up my own ass creatively.

In Hollywood, you tend to get pigeonholed to certain genres, and then when you try to do something different, it's not always so easy. Obviously, you don't want to keep repeating yourself, all the time. So, it's a constant struggle for every filmmaker and actor to find something that you can really feel passionate about. It's a profession like anything else.

The only thing that you might see that is a planned tweet is if I am tweeting about an event or promoting an artist. But really, it is not planned. If I am sitting in front of my computer, I'm like, "Oh, okay, lets tweet about this and attach the link." I try to be spontaneous with the tweeting. It keeps it fun, you never know when or what I may tweet about.

For me, as a film goer, I like nothing more than to sit in the cinema, have the lights go down and not know what I'm about to see or unfold on-screen. Every time we go to make a film, we do everything we can to try to systematise things so we're able to make the film in private, so that when it's finished it's up to the audience to make of it what they will.

I gravitate towards anything that feels challenging to me, that feels like it's gonna be saying something a bit different and new to the audience, and anything that moves me. I do movies that I would want to see, so I don't necessarily gravitate towards any genre in particular. I just try and do the best work I can and also try to keep the audience guessing.

I try not to let the material aspects of different cultures distract me from getting to the essence of the person I'm photographing. Whether it's a man or a woman. Wherever they're from, I try not to let social status or cultural background affect me or affect the person. I strip all those things away to get down to the essence of the human being, the person.

My encounter with another world and another culture and the beginnings of an attachment to them had set up an irritation, barely perceptible but incurable-rather like unrequited love, like a symptom of the hopelessness of trying to grasp what is boundless, or unite what cannot be joined; a reminder of how finite, how curtailed, our experience on earth must be

The next most dangerous thing [after nuclear proliferation] is probably... global warming, and then, right behind that are overpopulation -- we need to get serious about family planning-and trying to alleviate poverty, to get clean, renewable energy, probably with solar panels to the billion and a half people in the world who don't have access to electricity.

You're young and you're always in pursuit your young manhood. You're trying to figure out - what does that mean? What does - you know, there's a lot of pressure on young men to sort that out. And, you know, we tend to gravitate towards one-dimensional iconography as far as what it means to be a fully grown man. And you can get lost in so much of it out there.

I try to listen to a lot of music when I'm in the mixing process of a record, when I'm in post-production and trying to get everything to sound a certain way. During the writing process, I tend not to listen to too much music. I obviously wear a lot of influences on my sleeve, but if I was listening to too many records, I would turn into too much of a monkey.

Nietzsche's 'perspectivalism' was expressly directed against the 'laughable juxtaposition of "man and world"'. But 'absolutist' accounts, too, typically try to demonstrate that human beings are integral components of the world these accounts articulate - that, for example, we are simply material bodies subject to the same natural processes as everything else.

If you make a movie in the UK you've got to embrace the weather with open arms... We got some of the most amazing weather as well. It's maybe why some of these places, like the Lake District, don't get filmed in so much. If you were trying to make it look like some kind of chocolate box image of England you'd be there all year waiting for the sun to come out.

It is good that the window should be transparent, because the street or garden beyond it is opaque. How if you saw through the garden too? It is no use trying to 'see through' [everything]. If you see through everything, then everything is transparent. But a wholly transparent world is an invisible world. To 'see through' all things is the same as not to see.

There's sometimes when I feel really balanced, and there's other times when I feel like I'm trying to keep juggling too many balls in the air, and I feel like I'm on the edge of dropping all of them and having them all land on my head, you know? Scheduling is a big part of it, and the other is just remaining flexible and keeping a sense of humor about things.

A lot of people think if you just had more process and more compliance -- checks and doublechecks and so forth -- you could create a better result in the world. Well, Berkshire has had practically no process. We had hardly any internal auditing until they forced it on us. We just try to operate in a seamless web of deserved trust and be careful whom we trust.

I never get tired of looking at her [Catherine Keener] and it always surprises me, despite how many hours of film I've shot on that face. She's fantastic. She does comedy and tragedy so equally well. She wears her feeling so on the surface for both. I try to stop myself from casting her but I just keep coming back to her. She's just so fantastic to work with.

If I read something that's really intense and depressive, I will face it; I will try - but there's plenty of times I also run away. I think it's trying to find a balance between the positive and the negative. They don't exist without each other. It's the polarity; it's two sides of a coin. You can't get one without the other. I don't wallow. I can't stand it.

In my work I try to get things right, to do it well, and if there are specific skills involved - like in a case conducting or playing the piano, or in this film I have coming up where I play a character who is German - I'm very meticulous about learning accents and dialects and those kinds of things. That's probably the closest I come to being a perfectionist.

I'll be friends with anyone as long as they're not an asshole. But with my fans, they all try and add me on Facebook. And I won't have it, because that's personal. When I'm doing shows, I'm not shy to hang out with my fans. I'll finish and be out there within ten minutes talking to people. But when people start invading my space, it freaks me out a little bit.

I always try to better myself with every movie I make. I don't take anything sitting back and so I try to learn from every film I make and carry that onto the next movie because I think it's important as a filmmaker to keep growing with each film and I think I am growing with each movie. And I think it's important because you need to strive to better yourself.

I think I probably learned something from almost every gig that I've done, not only because each occurred at a different phase of my development, but because each one had something different to offer. Ideally, you should be able to get something out of everything, positive or negative. And if it's negative, try to turn it into some kind of learning experience.

I don't feel like it's pressure. It's more of an obligation - not to entertain or be funny, but to have a certain levity. I mean, there's got to be a lightness in your leg. You have to be as light as you can be, and you don't have to be weighted down, stuck in your emotions and stuck in your body, stuck in your head. You just want to try and elevate something.

I am a mess. Like that MargieMocha, I am spilled across a floor, but there's nobody to mop me up. I have only one thing to show for the day: Perry Delloplane. The sound of a name. It is a grape in my mouth. I roll it over and over on my tongue--perrydelloplaneperrydelloplaneperrydelloplaneperrydelloplane--but when I try to crush it with my teeth, it slips away.

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