Trying Quotes - Page 358

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Fire is a symbol for so much. It's a symbol for change. It's a symbol for destruction. Out of the ashes of that comes an opportunity to start over. It's one of the greatest metaphors in nature that you can possibly lean on, especially as a songwriter. You're trying to describe either something coming to a complete and utter end or something that is in flux, or something that's on the verge of becoming something else.

That's why I loved being with you. We could do the simplest things, like toss starfish into the ocean and share a burger and talk and even then I knew that I was fortunate. Because you were the first guy who wasn't constantly trying to impress me. You accepted who you were, but more than that, you accepted me for me. And nothing else mattered-- not my family or your family or anyone else in the world. It was just us.

The whole idea of action being a carrier of information is something that comes directly from theater. That's, in some ways, the one thing I've been trying to contribute. I still write things outside of architecture - not really fiction, but not nonfiction. I like dialogue as a form, because the text is only the trace of an action. The consequential information is carried in the action you choose to put on that text.

A lot of times, you design a logo to be timeless, but with something like the Olympics, timelessness is maybe not something you should be going for. Maybe you should be trying to come up with something that will really become associated with a moment in time, a few weeks, that happened, period. Then you look back, think about it and connect it with that time. It may look dated later but it will be still be evocative.

It makes us a thread in a tapestry that has unrolled for centuries before us, and will unroll for centuries after us. We're midway through the loom, that's the present, and what we do casts the thread in a particular direction, and the picture of the tapestry changes accordingly. When we begin to to try to make a picture pleasing to us and to those who come after, then perhaps you can say that we have seized history.

In the shows I've done serialized storytelling with, there are big open questions, but you like every episode to be identifiable as what it is. It's also very important that each season is identifiable. There's usually some big thing that you're trying to wrap up. There are big bows that you're trying to tie, by the end of the season, that you would do anyway because it's just good storytelling to tie those things up.

So much of my writing process is trying to eliminate any kind of shame or fear of the thoughts that I'm having. Where I would usually backspace, I stop and say, "You know what? This is important, that I say how I feel and don't sugarcoat it, and don't avoid it." In my experience when I do try to avoid something, it makes its way into the work anyway. To be in front of it and just make friends with it is easier for me.

There was a time traditionally - say, GM in the 1950s - it was trying to develop a consumer base that would be loyal and lasting and they were thinking in terms of an institution that would remain and grow and thrive in the society. By now, a lot of the investment firms - bankers, hedge funds - are perfectly happy to destroy what they're in and come out with huge, tremendous benefits. That's a new stage of capitalism.

Well, equity matters. I hope that most of us believe that we actually would all benefit from living in a more equitable society. If that's not happening, we're squandering human potential. We want to make the best television possible. We should be drawing on the entire available pool of storytellers and directors, and we should be expanding that pool and trying to hire the very, very, very best people. That's our job.

I learn a lot as a director from acting in other people's films and just in general. I want to try and be as involved in the art of filmmaking as possible. I feel that the only way to really do that is to take on as many roles as possible, whether it be as an actor, an editor, a director, a cinematographer. Basically, I like to help and be involved, so anything anybody asks me to do, my first reaction is to say "Yes."

But one of the rules I don't like to break is we still do - 95% of our movies are low budget. We're offered bigger, larger budget movies to produce a lot, and we don't do them. That's not to say there aren't exceptions, there are a few exceptions, but I try and stick by the rules that produce what I think is the highest quality, most innovative work and try and let the rules go that make us feel like we're retreading.

Imagine you have six loans, small to huge. People want to close loans and because of that, they try to pay off the small loans, but that's not the right strategy. The right strategy, of course, is to pay the loan with the highest interest rate. People make this mistake and it costs them lots and lots of money, it's a very expensive mistake because interest rates accumulate and become very, very expensive very quickly.

Images work on so many different levels. As a writer you feel them, try not to get in their way or narrow them down to anything other or less complex. A writer is a curator of sorts - once you've brought the images together you try to stand at a respectful distance and let them speak for themselves. Try not to mess with their ambiguities and contradictions. They are what they are, irreducible. This is their integrity.

I'm not approachable by someone who says, "Let's try some drugs," or something like that. I'm absolutely close-minded about that kind of thing. But I'm wide open to anyone who says, "I've been wondering why we're here and where we're going, and I've got a few answers, but I wondered if anything ever happened to you that suggests..." Then they have me, and I become a chatterbox and can just talk away literally for days.

I don't at least for me I don't ever really look for trends. I'm looking for just what captures my attention at that time and rarely do I ever look back and try and put together trends or say this kind of trend is important. For me it's about the individual expression and if you go back and look through the archives you might find certain things become trends, but it's just not something that particularly interests me.

There is no reason why a company like Monsanto, for example, that is pushing GMOs, cannot go to Kenya, partner with the university, partner with the research institutions, and try to promote - in a responsible way - advanced techniques to help farmers. But this should be done in such a way that the farmers' livelihoods are not undermined because the government is irresponsible or careless, or because it is compromised.

Well, there's a great Marlon Brando quote that to do something well you have to spiritually marry your director. You have to be making the same movie they are in that you have to try to help their imagination be better, and more full, and more fully realized, but you can't have a different imagination because then you end up - and you see this a lot in movies - where it feels like they were making five different films.

I speak English, obviously, Afrikaans, which is a derivative of Dutch that we have in South Africa. And then I speak African languages. So I speak Zulu. I speak Xhosa. I speak Tswana. And I speak Tsonga. And like - so those are my languages of the core. And then I don't claim German, but I can have a conversation in it. So I'm trying to make that officially my seventh language. And then, hopefully, I can learn Spanish.

People in the rich countries who have done very well, who are at the top of the income pyramid, try to steamroll over the opposition of the middle without changing anything in social programs, or any redistribution. And they take their votes for a given. They have rich people that bankroll them. And the globalization would continue, but it would continue with permanent dissatisfaction among large segments of the people.

Do not try to know the truth, for knowledge by the mind is not true knowledge. But you can know what is not true-which is enough to liberate you from the false. The idea that you know what is true is dangerous, for it keeps you imprisoned in the mind. It is when you do not know, that you are free to investigate. And there can be no salvation, without investigation, because non investigation is the main cause of bondage.

In a way, I feel that we're always connected, maybe you and me, we've been connected - not only now, but before. That's why we've crossed paths. And this manifests beautifully for me in fables, old television, novels in Thailand, but now we try to ignore these themes and stories. That's why now when we make "ghost" films, they have a certain stock quality to their effects, a certain formula, and I miss how it used to be.

What gets yme excited about a project and character is the director, the script, who's involved in the movie, and the character. Those are pretty much the essentials. If it's something different, if it scares me, in a way, if it will stretch me or push me into certain places that I haven't been to, then I like that. If you're just trying to talk yourself into it, then it's probably not for you. It's hard to be selective.

None of the individual metal hunks of an airplane have the property of flight, but when they are attached together in the right way, the result takes to the air. A thin metal bar won't do you much good if you're trying to control a jaguar, but several of them in parallel have the property of containment. The concept of emergent properties means that something new can be introduced that is not inherent in any of the parts.

...So they are trying to do something about it. They are not doing it by seeking charity. They are not begging at the welfare office. They are not, like many of their employers, lobbying the halls of Congress with their gold plated tin cups asking to be paid for not growing crops. They are trying to do it in the way that millions of other Americans have shown is the right way-organization, unionism, collective bargaining.

Say of him what you please, but I know my child's failings. I do not love him because he is good, but because he is my little child. How should you know how dear he can be when you try to weigh his merits against his faults? When I must punish him he becomes all the more a part of my being. When I cause his tears to come my heart weeps with him. I alone have a right to blame and punish, for he only may chastise who loves.

Often people say they can't base their strategies on customers because customers make unreasonable requests and because customers vary too much. Such opinions reveal serious misconceptions. The truly outside-in company definitely does not try to serve all the needs of its customers. Instead, its managers are clear about what their organization can and should do for customers, and whatever they do they do well. They focus.

Relate your ask to the group at large by using "we" instead of "I." So I might say, "We grew our traffic by X percent this quarter and it was awesome; I brought in X percent of that." It also helps when women make it about collaboration: This is not a battle - you want to work together with the other person to get to a place you are both happy with - so remind them you're trying to come to a mutually beneficial agreement.

Free speech is important whether you like what's being said or not. The reason why it's so important is that the entire spectrum of ideas needs to be heard so that the best ones are embraced and rise to the top. If you're a liberal and don't like conservative speech and you try to stifle that conservative speech, you need to be prepared for your own progressive speech to be stifled when the power shifts out of your favor.

I think, in fact, the situation with respect to al Qaeda, to say that, you know, that was a big attack we had on 9/11, but it's not likely again, I just think that's dead wrong. I think the biggest strategic threat the United States faces today is the possibility of another 9/11 with a nuclear weapon or a biological agent of some kind. And I think al Qaeda is out there even as we meet, trying to figure out how to do that.

Typical pay increases are not enough to motivate employees, but they are enough to irritate them. … Even when companies create seemingly significant pay differentiation between low and high performers, the actual cash increase is insufficient to sustain performance – or it drives the wrong behaviors. … Effective management is a system, not a pay plan. The mistake is that companies try to solve all their problems with pay.

Most actors don't know what they're going to do next, so you get into this thing where you have to force yourself to have another life outside of acting. And then, as soon as you start something in this sort of normal life that you're trying to live, you get a job. So you have this constant struggle because you want to be able to commit to things and to finish things in your life, but then you also want to be able to act.

I never want to be told, "Hey, this is what you do best, and this is the only thing you're going to do." And there are other people that are put into that box. Or unable to navigate through all the different genres. Some people insist on being a tough guy even though it's not happening. People only want to see them in leading romantic roles. Yet they continue to try and force something that doesn't feel organic to people.

One of the things that really gets me excited and makes me start up companies is the fact that you can basically build something new, try to introduce a change in a way that people are used to doing certain activities, and basically create something out of scratch that doesn't exist and would revolutionize whatever it is that you are trying to do with it. So that's part of the reason I love being able to be a technologist.

I try to be as faithful as possible to the facts as I understand them, but any story is at least partly a product of the imagination. I can comprehend a lot by immersing myself in all of the information I've collected, but my imagination is what brings it to life, and the bridging of that gap - between the received history and the conceived fiction - is both the most difficult and most enjoyable part of the process for me.

Tomorrow we go back to normal?" "Sure," Mab said. "It'll be like none of this happened. Except I'll still be pregnant, and you'll still be making dragons, and Glenda will still be pretending that Dreamland is Cancun, and Weaver will still own the only green velvet demon in captivity. Other than that, perfectly normal." "I just meant no demons trying to kill us," Cindy said. "My baseline for normal is a lot lower than yours.

The phase of the usury system which we are trying to analyze is more or less Patterson's perception that the Bank of England could have benefit of all the interest on all the money that it creates out of nothing. ... Now the American citizen can, of course, appeal to his constitution, which states that Congress shall have power to coin money or regulate the value thereof and of foreign coin. Such appeal is perhaps quixotic.

Why is it that we go to immense lengths getting the Serbs who were responsible for the massacre of 7,000 at Srbrenica-that's slightly more than the total figure for New York 9/11-and we take them to a tribunal in The Hague, and one after another, we arraign them, try them, convict them, and punish them in front of the world, but no plans have been brought forward to get Osama bin Laden and his friends and put them on trial.

The IMF insisted that both Russia and Brazil maintain their currency at over-valued levels. Who are you protecting when you try to maintain that exchange rate by having high interest rates? You're protecting domestic and foreign firms that have gambled on the exchange rate. And who is paying the price? The small businesses that did not gamble [and no longer can afford loans], the workers who are going to be put out of jobs.

It's only when it's smoothed out by history and we try to make sense of it - this incredibly complicated period when everyone's doing something different every day - that we look for those stylistic similarities and we say, "Well, that's what that was about," and sort of forget all the other nuance. I definitely feel that that's true for this time in my community of artists, and I'm sure that it was true at other times too.

Simplification seems to be the removal of objects for the goal of making a graphic as clean and uncluttered as possible. Whereas, with optimization, it feels like there's more intelligence in that. It maintains the usability, but tries to distill something down to its essence. But with some data-sets you have to be careful because, as with linear, print journalism, it's easy to shave off facts that don't quite fit the flow.

Human cultures are all experiments in trying to find a form that will fit the matter of our immediacy; but it is absolutely not the case that all such experiments are of equal merit or value. Some cultures - and modernity is patently one - have managed to transmute consciousness into the "disease" that Nietzsche called it, the self-affliction of a self-centeredness that has purged itself of all vestiges of wisdom and value.

You definitely go through a stage, most coaches do, where you see a good player and you get enamored, you really like what the player does, but then when you put him into your system, it's not quite the same player that he was in another system. He has some strengths, but you cant utilize all those strengths. If you try to utilize all his strengths, you end up weakening a lot of other players who are already in your system.

I'm a curious guy. I can't turn away from an investigative story, when it comes to the forensic analysis. I've done 33 dives, to the titanic wreck site. I've spent over 50 hours piloting robotic vehicles at that wreck trying to piece together what happened during the disaster. How the ship broke up, comparing the historical record with the forensic record. Documentaries are kind of my new life. I love documentary filmmaking.

I've never considered soundtracks for what I write. Nor have I considered computer drawing or painting. As a painter, I'm still trying to perfect what I started out doing with brushes, pen and ink, paint, etc. The transition, for me, from typewriter to computer was a big step. I am now very comfortable with writing on a computer but it took awhile. Because I did make that big step I won't rule out what happens in the future.

And so you try your best. Sometimes you go in with one thing, with one desire and come out with something else. In the case of 'The Aviator' it was to create a Hollywood spectacle, but by about the second or third week of shooting you just want to literally survive it. Because don't forget, I also go through the editing process too, and when the film is released I have to talk about it. So, I take all of that very seriously.

If we start thinking simply nationally, and we start having policies that try and restrict the benefits only within our borders, and try and implement protectionist measures as a consequence, this will not have the effect we need to have on the global economy. And that's ultimately the global economy that's pulling most of us down, particularly countries like Canada, that aren't the source of these current economic troubles.

I came to the resolve that the attempt was not only worth trying, but should be tried in the very near future if we wanted at all to keep our flag flying; for I was sure as of my own existence that if another decade was allowed to pass without an endeavour of some kind or another to shake off an unjust yoke, the Irish people would sink into lethargy from which it would be impossible for any patriot . . . to arouse them . . .

I feel like any actor should always be thinking about how to serve the story. The thing to be cautious of is trying to make too much of your "moment," or whatever. The story is a lot bigger than you, and you're there to help it along. The thing to think about is whether what you're doing is true to the moment and where the story's going, rather than going, "Here are my scenes. What can I try and do to make the most of them?"

I've found, as I'm sure you have, that when you're trying to learn from the Lord and you feel an impression from the Spirit, it's important to make a note so it will not be forgotten. The more you not only hear but abide by what you've been told, the more the Lord will give to you. It will come more and more rapidly and you will begin to hear and feel those impressions of the Spirit more quickly than you have previously done.

With non-fiction writing I feel like I'm confined and driven by what actually happened. That makes the "plot". So it's a process of getting all of my notes typed up, then scanning through the notes, trying to extract or find certain vignettes that seem like they might write well - that might have a potential for good energy, shape, etc. And then at some point I start stringing these together, keeping an eye on the word count.

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