Trying Quotes - Page 354

Grid View List View
Quote of the DayPicture QuotesTop 100 Inspirational QuotesTop 100 Love QuotesTop 100 Happiness Quotes
Joe BidenVince LombardiStephen CoveyLes BrownCarl SaganDonald TrumpRalph Waldo EmersonFriedrich NietzscheAbraham LincolnKim Kardashian
LifePetConfidenceHappyUpliftingValentineRespectSpaceBeautyUsing People

I think the key that differentiates the good actors from the mediocre ones that are still trying to come up, is that the good ones know how to listen. It's like being in a jazz band. They know how to listen to what the other musicians are playing. And where to come in and where to sit out. That's my approach to being in an ensemble cast and working with any kind of actors in a scene.

I want to try to apply my abilities sometimes to make families happy, so I have to make movies at a venue that are not gratuitously violent, that are not using bullets and bloodshed, but are using things like magic and fantasy and enchantment and the imagination. To me that's just all positive stuff. But I am eclectic and I still like to make movies for the midnight audience as well.

[Donald] Trump wanted the nomination, and all these other Republicans and their supporters didn't want Trump to have the nomination. So who became the villains? What Trump wanted became the story. "Will he get it? Will Trump get to 1,237?" Did not Ted Cruz become a villain in the middle of this by virtue of trying to stop the hero by getting delegates in all of the state conventions?

Attributing global climate change to human CO₂ production is akin to trying to diagnose an automotive problem by ignoring the engine (analogous to the Sun in the climate system) and the transmission (water vapour) and instead focusing entirely, not on one nut on a rear wheel (which would be analogous to total CO2) but on one thread on that nut, which represents the human contribution.

Today's aikido is so dimensionless. It's hollow, empty on the inside. People try to reach the highest levels without even paying their dues. That's why it seems so much like a dance these days. You have to master the very basics solidly, with your body, and then proceed to develop to the higher levels.... Now we see nothing but copying or imitation without any grasp of the real thing.

Here is an old Oriental proverb: *A journey of a thousand miles begins with one step.* It is difficult to anticipate just how a situation will develop in every detail until you take a step forward and try out your present equipment. Then, if weaknesses appear, you will have clues as to how to strengthen your resources. No scheme or plan is perfect. Perfection is a process, not an end.

The achievement of great things though comes from the ability to manage yourselfvery, very, very well. Or at least well enough where you almost become compulsive about getting certain things done. You have to set a standard for yourself that's.very, very, very high and you have to manage your thoughts to where they need to be allow yourself to be successful, at what your trying to do.

I don't feel like my work is impersonal - it is, in many ways, a reflection upon me - but that's ultimately not the point. I'd rather each piece be seen as part of a larger experience, and that each installation be approached as a point of departure. As open as I am trying to keep things in my practice, I want the audience's experience to be as well. That's what keeps things existing.

My task which I am trying to achieve is, by the power of the written word, to make you hear, to make you feel — it is, before all, to make you see. That — and no more, and it is everything. If I succeed, you shall find there according to your deserts: encouragement, consolation, fear, charm — all you demand; and, perhaps, also that glimpse of truth for which you have forgotten to ask.

We are trying not so much to make God listen to us as to make ourselves listen to him; we are trying not to persuade God to do what we want, but to find out what he wants us to do. It so often happens that in prayer we are really saying, 'Thy will be changed,' when we ought to be saying, 'Thy will be done.' The first object of prayer is not so much to speak to God as to listen to him.

You can't stand clutter, and you have an obsession with orderliness. The furniture in here is centered exactly on the walls; the files on your desk are arranged in precise corners. If I had to guess, I would say you are probably a control freak, and that is usually symptomatic of a man who feels powerless to control his own life, so he tries to control every facet of his surroundings.

I've learned that I must find positive outlets for anger or it will destroy me. There is a certain anger: it reaches such intensity that to express it fully would require homicidal rage--self destructive, destroy the world rage--and its flame burns because the world is so unjust. I have to try to find a way to channel that anger to the positive, and the highest positive is forgiveness.

The meaning of the Sabbath is to celebrate time rather than space. Six days a week we live under the tyranny of things of space; on the Sabbath we try to become attuned to holiness in time. It is a day on which we are called upon to share in what is eternal in time, to turn from the results of creation to the mystery of creation; from the world of creation to the creation of the world.

My own view is that violence is a part of classical Haida literature - and of every mythology everywhere, so far as I can tell - because it's part of life itself. In the world of the hamburger stand and the supermarket, or the vegan café and the ashram, you might try to tell yourself it's possible to be nonviolent. In a hunting and gathering society, violence is more difficult to hide.

I don't want to revisit history or try to re-interpret it, you know, but starting from where we are now, given the experience that we've had in the last, you know, since 2001, which has been an utter disaster, I don't think it's benefited us. Half of our discretionary budget, right, it's like 54% of our discretionary budget right now is being spent on the military. This is not working.

You know, there are a lot of directors, like Clint Eastwood (on Changeling) is one where he casts you and you know in many ways that's enough for him and so, you go, ok, well, he saw something. Ok, what is it that he saw? What is it that I brought to this and why am I right for this and not trying to double-guess it and get in your own way and get psyched out, 'cause he trusts so much.

In a sense my whole life as a writer is trying to find structural ways, or formal ways, to permit that outflowing so it doesn't just look like crazy output. In other words, if it turns out that you can do a given voice, that's just kind of inclination. But then if you can find a way to put that voice in a story so that the voice serves a purpose, then I would say that's being a writer.

What I am trying to do when I use symbols is to awaken in your unconscious some reaction. I am very conscious of what I am using because symbols can be very dangerous. When we use normal language we can defend ourselves because our society is a linguistic society, a semantic society. But when you start to speak, not with words, but only with images, the people cannot defend themselves.

I never did like the assertion of the "innate" inferiority or women or Blacks, and I understood that when people tried to talk that way, they were trying to "fix" a social reality into a natural necessity. And yet, sometimes we do need a language that refers to a basic, fundamental, enduring, and necessary dimension of who we are, and the sense of sexed embodiment can be precisely that.

I think you make the movie in your head that you have to make, and you have to get it out of you. You have all these pretentious reasons why you want to do it, and you set out to accomplish them. And you think "This is important for what I'm trying to accomplish for the story," and I think those reasons will come through to an audience, and they will find it. That's the best you can do.

Milton on speed. I am going to need about a decade to think about that. That delay in syntax, the putting off of the click of the sentence into itself, is something that has always intrigued me. I love the emotional effect of it, and never want it to be merely a gesture. Sometimes I try it and it doesn't work, so I have to put the poem aside, and try again, more simply and more strange.

We live in an extraordinary time, in which one still has the ability to mold opinion. Also, it's up for grabs. Perceptions are up for grabs in a way that it hasn't been before, which makes it really interesting. Societies that have always defined other aspects of human experience, or histories, try to hold on to it and try to find ways to continue to be the ones who do the interpreting.

Martin [Campbell] is very energetic and precise. He'll on the set like four hours early with a flashlight and I thought, well, I'll certainly try to be very neat about my script like Martin, which I wasn't, but I'm not going to do that bit with the 4AM and the flashlight. I'd love to be able to say I was nervous, but I wasn't. The only time I ever had anxiety it turned out to be asthma.

By the time it becomes obvious that a technology will have truly disruptive impact, it is often too late to take action. This is one reason why we are such advocates of using theory to try to analyze industry change. Conclusive evidence that proves that a company needs to take action almost never exists. In fact, the data can fool management, lulling them into a false sense of security.

In some ways, the great danger for this commodified universe is our boredom with it ... There is this sort of dialectic that you could tease out, that even in this overdeveloped late-capitalist world, that boredom was still this kind of critical energy that you could work on and try to theorize and then act on, to find other kinds of belonging, other kinds of desire, other kinds of life.

I went through some stuff. And I got very depressed at times. It was like a marriage breaking up suddenly, violently, quickly. And I was just trying to figure out what happened. When we started putting this tour together, I started to feel better almost immediately. And then this there is this, there is almost no better antidote to what I"ve just been through than to do this every night.

In reality the world is made of thousands of groups of about five hundred people, all of whom will spend their lives bumping into each other, trying to avoid each other, and discovering each other in the same unlikely teashop in Vancouver. There is an unavoidability to this process. It's not even coincidence. It's just the way the world works, with no regard for individuals or propriety.

You don't really need to engage your visual sense, because the natural wiring of the human psyche is to monitor the environment through sound, not through sight. But we're convinced through modern conditions that we have to look at everything, and that creates stress in our life, because we're trying to solve problems in ways that are much more time consuming, not efficient, and not fun.

A scrupulous writer in every sentence that he writes will ask himself. . . What am I trying to say? What words will express it?...And he probably asks himself. . . Could I put it more shortly? But you are not obliged to go to all this trouble. You can shirk it by simply throwing open your mind and letting the ready-made phrases come crowding in. They will construct your sentences for you

For me, creating the clothes of Givenchy is the way to make my tribe. It's related to religion, too, because it's people trying to find identity - the young generation is looking for tribes. You have the hip-hop tribes, the punk tribes, the rockers, you have the hipsters, the bourgeois ... The fact of the tribe is that it's like a religion. Punk is like a religion, because it's a belief.

I was 21. At the time, I was under the thumb of my label, and I felt like I had to do, say and act out everything they asked me to do. I was trying to please them and the public and finally I had to say, "Enough. I'm going to make a record that makes me happy and addresses all facets of being a woman. I don't care if I sell one or one million records." That's how I came to make Stripped.

For me, I try to look at a person's swagger and a little background on them if I already haven't liked them as a ballplayer. All you have to do in the way I am going at it is that I don't attack them like a typical commentator or a typical interview where I am trying to figure out what's your statistics or how you felt about last night? Those things. My things are more lifestyle oriented.

I try to keep away from being bigheaded. That's what causes people to lose the acting thing. They start being commercial, and then they stink the rest of their life. But there are several respected adult actors who were child actors that started very young. I'm going to try to model myself after Kurt Russell and Jodie Foster. Just keep learning from the role and not just go for the money.

The left is entering a new phase of ideological agitation no longer trying to win the debate but stopping debate altogether, banishing from public discourse any and all opposition. The proper word for that attitude is totalitarian. It declares certain controversies over and visits serious consequences from social ostracism to vocational defenestration upon those who refuse to be silenced.

One of the top challenges is the fact that you are dealing with survivors. Every time you deal with a documentary film subject it is fraught with obvious minefields but when you are dealing with a population that is severely traumatized and trying to recover from that trauma there is an extra level of vigilance and care and attention that has to be implemented all the time at every level.

I explained to Amazon that I don't like outlining or projecting what something's going to be. I like to allow a story to arise as I'm writing scripts. I find it horrible when I try to think of something for the plot without really being on the ground and seeing where it goes. I was really resistant to do the mini-bible. So I gave them something, but I really didn't want to do it that way.

The truth is I couldn’t care less about needing a supposed 'thigh gap.' It’s just another tool of manipulation that other people are trying to use to keep me from loving my body. Why would I want to starve and weaken my natural body size? I’m not saying women who have it naturally are unattractive. But I would have to change my entire frame just to achieve something that seems so trivial.

Realistically, there is a danger, of course, when you're going into someone's living room as the same guy every week. But I don't fear it because, I mean, there's really nothing I can do about it. I can try to combat it through the work, and maybe make sure I don't do Sheldon 2.0 in any other projects. But it's just really hard for me to find any negative side effects from this experience.

And that taught me you can't have anything, you can't have anything at all. Because desire just cheats you. It's like a sunbeam skipping here and there about a room. It stops and gilds some inconsequential object, and we poor fools try to grasp it - but when we do the sunbeam moves on to something else, and you've got the inconsequential part, but the glitter that made you want it is gone.

There's more attention paid to entertainers than ever and less that they have to say. Not that entertainers were ever a great beacon of knowledge to begin with, but at least when the Beatles were the leaders of the culture, they had a message. It was brief; it wasn't terribly complicated. "Give Peace a Chance." "All You Need is Love." But at least they were trying. At least they had grown.

Because of our belief in being separate, we fall into all kinds of harmful actions and deeds that create more problems for us. Competitiveness is a big one—trying to get ahead of others, stepping on each other. We become frustrated and angry with each other. We try to control others; we condemn them. All of these things stem from one false belief, “I am apart, separate from everything else.

I want to try to come away from that one directional, clear rectangular form. It's not used because it's the most beautiful form; it's just the practical thing. That's why our TVs are rectangles. Even in modern architecture, they want us to believe, "That's the nicest, most beautiful thing." I love modern architecture, but actually it's that they cannot afford amorphous shapes or ornaments.

Sometimes you can't help but pay attention to what is written about you. You are trying not to because it's generally not constructive, it can be very funny, in which case it's fine to pay attention to it if you're going to laugh about it. But if it's going to get you angry then it's a pretty pointless waste of energy, so I try and be selective about what I take an interest in about myself.

Confronted with such a variety most philosophers try to establish one approach to the exclusion of all others. As far as they are concerned there can only be one true way- and they want to find it. Thus normative philosophers argue that knowledge is a result of the application of certain rules, they propose rules which in their opinion constitute knowledge and reject what clashes with them.

You have to get inside the people you are writing about. You have to go below the surface. And that's to a very large degree what all writers are doing - they're trying to get below the surface. Whether it's in fiction or poetry or writing history and biography. Some people make that possible because they write wonderful letters and diaries. And you have to sort of go where the material is.

What profession is more trying than that of author? After you finish a piece of work it only seems good to you for a few weeks; or if it seems good at all you are convinced that it is the last you will be able to write; and if it seems bad you wonder whether everything you have done isn’t poor stuff really; and it is one kind of agony while you are writing, and another kind when you aren’t.

I never had that desire to start or join a rock band. Nor did I ever have a desire to see my idols in concert. I would have loved to see The Cure. I didn't understand the whole concept of: you love music, you buy the album, and then you go see them in concert. It felt like something that was so untouchable that I didn't even attempt to try and bring it to any place other than my headphones.

The reason I stopped modeling was because I wasn't pleased with trying to portray something that is impossible to reach. Even when I do photo shoots now for films, I'm just not interested in trying to look my best all the time anymore. That pursuit of an impossible perfection seems ridiculous to me now. I'd rather show my vulnerabilities or my doubts than try to be something that no one is.

I like to keep at my craft. I like to keep reading scripts, whether I'm in it or not because of the fact that what would I do in a certain case? How would this happen or how would that go? I like to keep working with my mind, so when I do perform I have something to perform with, and it's not just like trying on new clothes. You're trying on a suit, but you know where the heck the pants go.

Earl Scruggs had this thing that it wasn't just the technique or even the instrument. It was him. There was this soulful quality that came through that made you - if you're somebody like me who was, I guess, supposed to play the banjo, it made you stop in your tracks, and you couldn't do anything until you got done hearing him play, and then immediately you'd have to go try and find a banjo.

Share This Page