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Once you let yourself begin to be grown-up, you face a world full of problems you can't solve. The politicians and specialists - adults, all - have a hard enough time trying to figure out where to look. It doesn't have to be that way. The greatest solutions in society are reached by corporate thinking, ruled by a motive to either make a profit or go out of business.
I've always had a preference for digital, all the way. I grew up through video and camcorders, and I was part of the VHS generation. I made all my stuff in high school on video, and worked for public access. Staying in digital is a very familiar, very natural progression of the things that I've worked in before, and I always try to break as much new ground as I can.
You should never bother trying to remember where you put something. You should just imagine needing to put it somewhere now, then go to the place you pick. Because why would you pick a different location now than you did earlier? Your personality is more stable than that. It's not like we wake up each day as different people. It's just that we don't trust ourselves.
No woman will ever satisfy me. I know that now, and I would never try to deny it. But this is actually okay, because I will never satisfy a woman, either. Should I be writing such thoughts? Perhaps not. Perhaps it’s a bad idea. I can definitely foresee a scenario where that first paragraph could come back to haunt me, especially if I somehow became marginally famous.
At uni I met a lot of people I had nothing in common with. Some were very clever, some very rich, some very sporty. Some of them became my best friends, but not at first. Having things in common isn't always the best start to a friendship. I'd stick with it! Also, try to chat to people when they're on their own. So many people feel they need to perform in big groups.
I have never had a shortage of ideas for shows. I always just do them and the gallerists don't - they stopped long ago trying to tell me what I should show in their gallery. They just don't even do it. I show whatever I want to show. They are very happy and as far as I know, they have always been very pleased with whatever I have shown, even if it is nothing to sell.
Life can be so good if you let it. But you must trade with life. You give something and you get something, then you give something of yourself again and you receive something again. Life goes bad when people try to take from it without giving. Then they came away empty-handed, and they grab harder and more often, growing more disappointed and disillusioned each time.
I like filmmakers that try to touch upon the metaphysical, the things that are behind all this, that you can't actually physically interact with, but are somehow intuitively there. Maybe you can see the ashes of that fire or the echoes of something happening on a domain not-here, whether that be coincidence, whether that be familiarity with somebody who's a stranger.
When I told you I wanted to try, I spoke the truth. When I turned away, it was for my former court, and when I tried to make another faery love me, it was for that court. I’ve lived for my whole life trying to bring the Summer Court back to the strength it once was. In all of those years, in centuries , I’ve only wished myself free of duty because of one reason. You.
No need to choose; become choiceless. And whatsoever happens happens; whatsoever happens is good. Let things happen rather than trying to do, and you will be surprised that all ambiguity disappears. It is a by-product of the chooser's mind, the choosing mind, that creates ambiguity. Otherwise there is no dilemma. Negative and positive are perfectly balancing in life.
The real trouble about women is that they must always go on trying to adapt themselves to men's theories of women, as they alwayshave done. When a woman is thoroughly herself, she is being what her type of man wants her to be. When a woman is hysterical it's because she doesn't quite know what to be, which pattern to follow, which man's picture of woman to live up to.
The composer Stravinsky had written a new piece with a difficult violin passage. After it had been in rehearsal for several weeks, the solo violinist came to Stravinsky and said he was sorry, he had tried his best, the passage was too difficult, no violinist could play it. Stravinsky said, 'I understand that. What I am after is the sound of someone trying to play it.'
You love the person for who they are, flaws and all. You can't help who you love, either. It comes from a different side of your brain than the logic part that tells you that this person is horrible for you - "You should walk away!" While you're walking away, the other part of your brain is trying to gain control of your bodily functions. "Turn around! She's the one!"
I'm partly somebody else trying to fit in and say the right things and do the right thing and be in the right place and wear what everybody else is wearing. Sometimes I think we're all trying to be shadows of each other, trying to buy the same records and everything even if we don't like them. Kids are like robots, off an assembly line, and I don't want to be a robot!
Meditation should not be regarded as a learning process. It should be regarded as an experiencing process. You should not try to learn from meditation but try to feel it. Meditation is an act of nonduality. The technique you are using should not be separate from you; it is you, you are the technique. Meditator and meditation are one. There is no relationship involved.
All you can do is make a piece of product, sell it on its own terms, stand behind it and hope that people will go see it. If you try to be like something else or appeal to any given group, then you can very easily end up being gratuitous and imitative. There's not much to be gained by that and I think too much time is spent going around trying to be like someone else.
Millions of people have wrecked their lives in angry turmoil, because they refused to accept the worst; refused to try to improve upon it; refused to salvage what they could from the wreck. Instead of trying to reconstruct their fortunes, they engaged in a bitter and "violent contest with experience"- and ended up victims of that brooding fixation known as melancholia.
Most of the artists were trying to make a living, trying to get laid, trying to figure out who they were. They weren't trying to change the world. That's what other people put on them. I knew all those people. I knew them all, intimately and well. Bob Dylan. I would say that Bob Dylan is as interested in money as any person I've known in my life. That's just the truth.
One of the things I talk a lot about in my work that I try to practice - which is really hard - is in those moments where we're being asked to do things or asked to take over or asked to take care of something, we have to have the courage to choose discomfort over resentment. And to me, a huge part of my authenticity practice has been choosing discomfort and saying no.
When someone new comes on and has their first nude scene - and even if it's not full nudity - it's always a weird, awkward setup. We have these famous merkins which are sort of toupees for your delicate areas to make it look like you're naked but cover you up a little bit. But we joke around a little bit with the newbies who are trying that stuff on for the first time.
The first time ever seeing a great talker was The Rock. It took a while for him to develop, but a great talker like The Rock, he was just incredible. Every time he was on the show, you wanted to see exactly what he was going to do which is what I try to do but I don't try to do it like The Rock. I don't want to be like anybody else.I want just want to be the No. 1 Miz.
I go - I trace depression back to things. So I go, ok, I look back and I say my self-esteem was affected because of my skin and because my family had no money and I was ashamed of how poor I was. And I look at all of that and I was trying to hide myself. And so I felt like I was less than I was. And so that then leads to you being depressed. And I work on these things.
No one's quite figured out how to make the images come to the viewer. I guess if they put it on a conveyor belt, you could stand in one place like at sushi restaurants. That could be a next generation of museums. Someone should try that. I think ideally you want to have a contemplative space for the viewer. And shuffling around like a chain gang does work against that.
If you think someone's trying too hard, that's the worst thing they can do. To me, it's just desperate, never funny and never witty. It's kind of really old hat because just being shocking isn't enough. It has to change how you think about something. It has to startle you. It has to make you look at something and reconsider whether you're right. That's the whole point.
I think great relationships are great partnerships, and those come in all shapes, sizes, forms, ages. The only tip I have for anyone in a relationship or a partnership is work on it when it's good. It's very easy to try to take the break when things are going good, but that's the time you have to keep working on it, because you can keep it good, and that's worth a lot.
What moments of despair that life would ever be made precious to me by the consciousness that I lived to some good purpose! It was that sort of despair that sucked away the sap of half the hours which might have been filled by energetic youthful activity: and the same demon tries to get hold of me again whenever an old work is dismissed and a new one is being meditated.
I'm proud of my ability to understand what somebody else is trying to do and help them achieve it, because part of the aesthetic of improvisation is service. You never say no. Serve the servant, follow the follower. And that's very valuable in your life, as well as very valuable in your actor's work. I'm damn proud of my ability to help other people achieve their ideas.
Once you have some sort of reputation in the outside world, they will try to woo you. They will say, "Won't you come and be on a talk program about books? That's not political." Then they can say to the outside world, "See how free it is, she appears on television. See how free it is." So I refused to have anything of mine read or dramatized on South African television.
The lawyers doing the sorting for Secretary Clinton in 2014 did not individually read the content of all of her e-mails, as we did for those available to us; instead, they relied on header information and used search terms to try to find all work-related e-mails among the reportedly more than 60,000 total e-mails remaining on Secretary Clinton’s personal system in 2014.
When you step in to act, you just zoom way in on the longest possible lens and you're just totally in the point of view of your character and you have to forget about everyone else. You don't care about what anybody else is, what they want or what they're trying to do. You're just concerned with your circumstances, what you're trying to get out of someone or some scene.
I am not saying this to serve as a justification for the things [Pablo Escobar] did, but rather to demonstrate the context of his situation and the reason for his actions, for which only he is responsible for. I think it was very difficult for him to try to bring down the very criminal organization that he had created and by the time he wanted to stop, he was unable to.
And as a director, you constantly try to solve problems, so you have to focus on that. You take away all the other parts. Of course, when the shot finishes, you remember that you have Robert De Niro in front of you. But when you're shooting, you just see a character in front of you, and an actor, and you try to search for very truthful moments. That's what obsesses you.
There is also a particular frustration that I have with language. It's so clumsy. There's often two words that are close in meaning, yet what I'm trying to say is in between them, or it might be a little more layered and nuanced. Having this conversation with you is exciting, because I can feel you resonate, even though we're on the phone. That's really beautiful to me.
When you are in a business, you must join associations, (both local and international), so that you can exchange ideas, with people from the same industry, including your competitors. This is how you “benchmark”. Before you dash off to implement something, try and find out what others have done, or not done This is really how you should be using tools like the Internet.
I wasn't trying to be different; I just did what I liked. Don't misunderstand when I say I really had no particular DP I was aspiring to be. I really fell in love with the movies as I was growing up, and I must say, I was emulating things that I saw others doing, that’s how you learn, but you soon have to push past that, and do things that you feel are right… or better.
With vertical thinking one may look for different approaches until one finds a promising one. With lateral thinking one goes on generating as many approaches as one can even after one has found a promising one. With vertical thinking one is trying to select the best approach but with lateral thinking one is generating different approaches for the sake of generating them.
If [climate change ] became a serious proposal in the United States, there would be a huge propaganda onslaught by the business community, the energy corporations and many others, to try to frighten the population into opposing it - claiming that if they have it, all sorts of terrible things will happen, like you won't be able to heat your home, or whatever the story is.
Every Day Is for the Thief is a vivid, episodic evocation of the truism that you can't go home again; but that doesn't mean you're not free to try. A return to his native Nigeria plunges Cole's charming narrator into a tempest of chaos, contradiction, and kinship in a place both endearingly familiar and unnervingly strange. The result is a tale that engages and disturbs.
All the time. A few months ago I came really close to losing it, I was getting really paranoid. And then I started a new job, things fixed themselves. I can't turn my back on the situation and ignore it. If tomorrow I say: "Okay, I've had enough, we're stopping everything" it won't change anything. Might as well try to accept it and stay zen as I have no control over it.
I never sat down and wrote, but what I do is kind of act as a dramaturge for the piece. I am sitting with the writers. I'm discussing ideas with the writers and concepts. We're debating and having a dialectic where we are taking a lot of different ideas and trying to synthesize them into the right idea. I'm very much a part of that process. That's my job as the director.
You're trying to make the language work, and your subconscious is being allowed to make the deeper, more profound connections. It's much better than going at it all frontally. But you can't conjure it in an intellectual way; it has to come out of another engagement, a more intuitive engagement. Revision is where the intellectual, analytical work happens. At least for me.
I'm not against international institutions that would try to tackle global warming. But the way to go, at least in the short run, is to go to nuclear power. It's amazing to me that people who are so alarmed about global warming are so reluctant to adopt the obvious short-term solution - the bridge until the day when we have affordable renewable energy - of nuclear power.
It's important for the character, over the course of six years, to have checked off all the different boxes of the things that Mindy Kaling is trying to learn about herself to see what she wants. Which are the things that she's dreamed of since she was a kid that will ultimately be still important to her as a fully integrated adult and which ones are maybe just fantasies.
Instead of thinking that you put pieces together that will add up to a whole, I think you have to start with the premise that they're already together and you try to keep from destroying life by segmenting it, overorganizing it and dehumanizing it. You try to keep things together. The educative process must be organic, and not an assortment of unrelated methods and ideas.
I think that the British government has long been on the record saying global warming is a very serious issue and we need to do something about it. I think what they did was they took their own economic experts and they said, "This time, let's try to put together a document that will really convince the rest of the world of a position that we've been holding for a while."
We talked about trying to create an image that would somehow, to an audience, create the sense of awe, wonder and shock that the troops must have felt that their monarch - and a female monarch - went to the frontline of battle and was prepared to lay down her life. This speech is so well known and has been done in virtually every version of the events of Elizabeth's life.
Most terrorists are false flag terrorists, or are created by our own security services. In the United States, every single terrorist incident we have had has been a false flag, or has been an informant pushed on by the FBI. In fact, we now have citizens taking out restraining orders against FBI informants that are trying to incite terrorism. We've become a lunatic asylum.
There’s a right time for everything. Not all will come to you, because there’s a solid plan. You just have to have faith, you have to believe that there’s a greater plan for us, in case it doesn’t pan out the way we thought it would. The only thing you can control is your attitude towards this things. You have to accept it and try to make the most of what is given to you.
In a hospital, there's not anyone who's generally trying to do you harm. You're generally given a backstory about what happened to them, but not about their life, so you get to work on saving their life. But you know whose lives you're saving overseas, in the Army, to a certain degree. You know whether's it your guy or a bad guy, and it's generally not anybody in between.
Contemporary poetry ... tries to transform the sign back into meaning: its ideal, ultimately, would be to reach not the meaning of words, but the meaning of things themselves. This is why it clouds the language, increases as much as it can the abstractness of the concept and the arbitrariness of the sign and stretches to the limit the link between signifier and signified.