Trying Quotes - Page 359

Grid View List View
Quote of the DayPicture QuotesTop 100 Inspirational QuotesTop 100 Love QuotesTop 100 Happiness Quotes
Ruth Bader GinsburgJohn KeatsVoltaireMuhammad AliMaya AngelouHenry David ThoreauPeter DruckerBenjamin FranklinGeorge Bernard ShawWayne Dyer
RunningHeartbreakPatriotismOld SchoolJourneyTeacherDesignZippersInspiringArchitecture

We seem to invest so much time and belief that those things are stable in some way - something to build towards, or something to use to better understand where we come from. So often those expectations are just so out of line with how the universe works. I don't see it as a productive way of seeing the world, so, when I deal with that stuff formally - or when I try to allow it to inspire me - I'm open to it twisting itself up.

I have added some ploughmen to the landscape form the park pales which is a great help, but I must try and warm the picture a little more if I can... but I look to do a great deal better in future. I am determined to finish a small picture in the spot for every one I intend to make in future. But this I have always talked about but never yet done - I think however my mind is more settled and determined than ever on this point.

I'm very aware that the future of any film is not necessarily the theatrical experience, it's the home video experience because that is the one that is going to be presented for years to come. So you want to make sure that you push your movie, but you're talking about a movie that you finished months ago. And your head is trying to move into new grounds and you're still pushing for the other one. That's the tough element of it.

There's always this talk of the industry of music and about selling records and whatever, but that ignores probably the majority of music that isn't about trying to sell itself, that isn't about being connected to any industry. There's a huge amount of music where someone just happened to have a tape recorder and turned it on or hit the red button while they were in the back of church or recording something in their front room.

There’s a real question as to what beauty is and why it’s important to us. Many pseudo-philosophers try to answer these questions and tell us they’re not really answerable. I draw on art and literature, and music in particular, because music is a wonderful example of something that’s in this world but not of this world. Great works of music speak to us from another realm even though they speak to us in ordinary physical sounds.

Sometimes it seems the harder you try to hold onto something or someone the more it wants to get away. You feel like some kind of criminal for having felt, for having wanted. For having wanted to be wanted. It confuses you because you think that your feelings were wrong and it makes you feel so small because it’s so hard to keep it inside when you let it out and it doesn’t come back. You’re left so alone that you can’t explain.

I also love doing comedy. I just moved to L.A. last July. Before that, Vancouver is all about sci-fi, so I didn't get any comedy, whatsoever. But in L.A., people are like, "You don't look quirky enough," and I'm like, "I'm quirky. I'm the definition of quirky. How do you want me to look quirky." They have these little boxes that they put everyone in, so now I have to try to break the mold and get them to see me as being quirky.

I like poetry, but honestly, I like dramatic literature more. If I had to pick between Rumi and Dostoevsky, I would pick Dostoevsky without even thinking about it. Ninety-nine out of 100 Iranians would probably pick Rumi. Kiarostami, too, would probably pick Rumi first. I try to have the meaning be in the action of the story, not in the symbolism. I want it to be in the action, and it's dramatic action that creates the meaning.

Suddenly, I realized how tough trying to structure a story like this is. It was a lot of work. The one big advantage that we had was that we had eight scripts written before we started shooting, or even started casting. We had a really good opportunity to look at it and figure out where we were going to go and how to do it. Once we got a cast, which I love, then we started doing some revisions to make sure that they fit into it.

You die - and this is why manmade religions don't work for so many of us. The notion that you're dead and that's the end, and they even try to contain you in coffins. They make them out of steel and stuff. But really, your journey - for all you know - is just beginning. For all I know, what you see now is just a tiny little seed. So, I may blossom into an entire - I don't know - something in the sky. Who knows where we're going?

It would never occur to me to map my research against events in my life, and the recent history of globalization seems to be part of someone else's life. Still, maybe I have been trying to fill in a history or address that amnesia for the recent past. There's so much that's opaque about the ways in which extra layers of global governance have developed since Pax Americana and really accelerated in these last thirty, forty years.

Remember this, and remember this well: when someone is telling the TRUTH and exposing information that is meant to be hidden from the masses, the side that is being attacked and accused will use all their resources and associations to try to discredit and discount the professional and moral character of the person revealing the threatening information. They will do everything to make that person look smaller than they really are.

It is a mistake - as so many over-centralized socialist societies have discovered - to try to eliminate money as an incentive. Money is one incentive among many, and has its place. But to put no limits on the impulse to accumulate money obsessively is as destructive as to place no limits on the impulse to commit violence. A viable democratic society needs a ceiling and a floor with regard to the distribution of wealth and assets.

I think at a place like Harvard, our experience, I was involved with, at various stages, in trying to implement a new general education curriculum, our experience was that Harvard's all about specialization, that's not just true of the professori, it's also true of a lot of the undergraduates, too, and they come, they kind of know what they want to do, they select it because they have a strong aptitude for something in particular.

A rather ugly thing starts happening: the playwright finds himself knocked down for works that quite often are just as good or better than the works he's been praised for previously. And a lot of playwrights become confused by this and they start doing imitations of what they've done before, or they try to do something entirely different, in which case they get accused by the same critics of not doing what they used to do so well.

I wanted to do something different. Therefore, the first person I thought would have been too exclusionary. It would have said me, me, me, me, me. I, I, I, I, I. As if I were pushing away my experiences from the experiences of others. Because basically what I was trying to do was show our commonality. I mean to say, in the very ordinariness of what I recount I think perhaps the reader will find resonances with his or her own life.

I certainly self-police my language depending on who I'm talking to. I try to be very careful about using filler words, about not drawling certain vowels, even when I can't say "drawl" without drawling. That's kind of sad, because self-policing inhibits communication. You're more focused on the words coming out of your mouth or that should not be coming out of your mouth than making a connection with the person you're speaking to.

I realized that I really, almost by accident, had fallen into a labyrinthine, very powerful paradigm for dealing with these things through genre films. And once I realized that and realized the power of it, and the fact that because horror films aren't, in general, studio products - studios back them sometimes, but they don't try to meddle too much, because they kind of don't want to sully their skirts - you have a lot of freedom.

Sustainability is an economic state where the demands placed upon the environment by people and commerce can be met without reducing the capacity of the environment to provide for future generations. It can also be expressed in the simple terms of an economic golden rule for the restorative economy: Leave the world better than you found it, take no more than you need, try not to harm life or the environment, make amends if you do.

I think our culture right now is a culture that's trying to find itself. They're trying to figure out what is it? Is it social media followers? Is it trying to be popular? Is it money? Is it fame? Is it power? They're searching for identity and so many of us have been there, and we'll get back to that place of what is our identity? Who are we? More importantly, whose are we? For me, I find my identity in a relationship with Christ.

How many times have I failed before? How many times have I stood here like this, in front of my own image, in front of my own person, trying to convince him not to be scared, to go on, to get out of this rut? How many times before I finally convince myself, how many private, erasable deaths will I need to die, how may self-murders is it going to take, how many times will I have to destroy myself before I learn, before I understand?

Imagine a world in which you had Saddam Hussein, who had the capacity to make a weapon of mass destruction, who was paying suiciders to kill innocent life. Imagine what the world would be like with him in power. The idea is to try to help change the Middle East. Part of the reason we went into Iraq was we thought he had weapons of mass destruction. It turns out he didn't, but he had the capacity to make weapons of mass destruction.

"Are you trying to tell me that you've never been kissed?" I pressed my tongue to the roof of my mouth. He looked so dubious, and his tone had bordered on insulting. "Yeah. So?" "So, I'm shocked, that's all. You're...you." In-sul-ting. "Me?" I asked stiffly. "Yeah. Hot," he said. Wait. Me? Hot? He laughed down at me. "No one's told you that, either, have they?" I could only shake my head. "You've clearly been hanging around idiots."

"Acoustic ecologist" is basically a fancy name for someone who tries to become a better listener. Not just listening to those thoughts, ideas, and productions of human intention, but listening to places - whether it's an urban environment, residential, industrial, or even the farthest corner of the world, in one of our last great quiet places where we can listen to the pure sounds of nature without any human-caused noise intrusions.

I'd like to ghost-write Liz Phair's novel. But I don't really know about that. It seems like a dignified thing to segue into as I approach the other side of 45. My hands are just full right now. There's the potential to try to write some kind of biography of Pavement - sort of a cryptic, nonfiction/fiction blowout. The story's never been told well. But that's a lot of inward-gazing that I'm not sure I want to do. I like to look out.

The only time I really try for a strikeout is when I'm in a jam. If the bases are loaded with none out, for example, then I'll go for a strikeout. But most of the time I try to throw to spots. I try to get them to pop up or ground out. On a strikeout I might have to throw five or six pitches, sometimes more if there are foul-offs. That tires me. So I just try to get outs. That's what counts - outs. You win with outs, not strikeouts.

When I was at home, I wasn't shy. I was the clown at home, because I was loved. It was in the outside world that I was judged and I wasn't loved. That was very clear to me, that I wasn't loved. So I became very quiet. You know, those little girls you see in those pictures that look like they want to hunch, I was trying to disappear into my shoulder blades. The quietest person in the classroom, that was me. But that wasn't me at home.

I recall an incident involving the late George Stigler at a conference in Spain in the 1980s. Hearing that I had written a book on reason and natural law, Stigler started to ridicule reason, going so far as to say that there is as much reason in a monkey's antics as in any human act. At that point I asked him whether he was trying to tell me something about how he wrote his books; he gave me a blank stare and stormed out of the room.

You see, Momo... it's like this. Sometimes, when you've a very long street ahead of you, you think how terribly long it is and feel sure you'll never get it swept... And then you hurry. You work faster and faster, and every time you look up there seems to be just as much to sweep as before, and you try even harder…, and you panic, and in the end you're out of breath and have to stop-and still the street stretches away in from of you.

I love independent films because I love to help, I love to assist, I love to pass along knowledge or experience to young filmmakers because usually, that's what they are. They're young filmmakers who are trying to either just simply tell their stories or trying to break into show business, and this is their calling card. But either way, I just really respect young filmmakers who are trying to tell a story that means something to them.

Almost everything that's happened in my poetry is what you might call organic. I don't do much preconceiving. The only consistent plan I've ever had is to try to break my patterns, my habits, my kneejerk tendencies in writing. If I start to sound too much like the Ron Padgett that I've read before, I stop myself. I don't want to get locked perpetually in a mode or a level of diction or a stylistic vein - what is called a poetic voice.

It's not like we were forced to do something we didn't want to do. I mean, when you see that scene you'll realize that we're really lucky that the weather came at us because now it has a lot more meaning that wasn't automatically there. There's some sort of undertones that wouldn't have existed had we shot it outside. So we got lucky on that and what we try to do is take whatever obstacles come our way and make them work in our favor.

This has all the appearance of a foreign power trying to undermine structures of legitimacy of an American election. That is a serious matter. If I were the media, I would be wary of using anything that came out of these document dumps which serves the purpose of a foreign power. But, at the very least, Americans have to discount this. This is an attempt to hijack and change American democracy by a foreign power. It can't be accepted.

People only speak to get something. If I say, Let me tell you a few things about myself, already your defenses go up; you go, Look, I wonder what he wants from me, because no one ever speaks except to obtain an objective. That's the only reason anyone ever opens their mouth, onstage or offstage. They may use a language that seems revealing, but if so, it's just coincidence, because what they're trying to do is accomplish an objective.

Perhaps in time, Ella, the words we have lost will fade, and we will all stop summoning them by habit, only to stamp them out like unwanted toadstools when they appear. Perhaps they will eventually disappear altogether, and the accompanying halts and stammers as well: those troublesome, maddening pauses that at present invade and punctuate through caesura all manner of discourse. Trying so desperately we all are, to be ever so careful.

We operate from this position of, "Let's build the skeleton and then insert the filling." We have this ping-pong dynamic with each other where we're able to try different things and bounce different ideas, and it ends up being us building our music together. I've never had a moment where I've been like, "I don't like it." Actually, that's total bullshit. I've had many moments where I'm like, "I don't like it," but it's always evolving.

I mean, part of the justification for art is art history, the fact that you're part of this tradition. You can't really operate outside of it. So looking for what this work is really about, if I look at Velázquez, if I look at Las Meninas or The Tapestry Weavers [1657] or something and really study it and try to figure out what that painting is really about, then I find relationships between what I'm trying to do and what he was doing.

In natural pregnancy, more than half of fertilized eggs fail to implant or are otherwise lost. Should we regard that as an instance of infant mortality? And if so, why are we not mounting ambitious public health campaigns to try to save and rescue all of the fertilized eggs that are lost in natural pregnancy? We would need a public health campaign of massive proportions if there really were over a fifty percent rate of infant mortality.

The best thing that happened from that situation when I failed was the fact that I failed and I failed because I was trying to do things that I don't like to do. I like to make movies and I like the creative process. I don't really care about the business end of it. It's not my thing. So I was all of sudden totally immersed in the business end of it and dealing with human resources, lawyers, and accountants, and so on. It wasn't for me.

I'm trying to make it a little bit more personal this time. All my shows are hodge-podges, and this one is no exception but this one delves a little more deeper into my life and my world. Hopefully it's funny. I did a version of this at Birdland last January and it's similar-ish to what I've done before. But I've been working on it all year; I did it out here in Los Angeles in a theatre and kept developing it. Hopefully it'll be better.

This is many, many years ago. It was shortly after "Starman" I think. I don't know how close I was to getting the part. I met with [director] Penny Marshall and that's one that I knew would be a hit. It just felt hit-ish. But it's like you go to a store and you see a jacket and you go "I love that jacket" and you try it on and it's too big or too small for you and it's the only one they have. For some reason that part just didn't fit me.

If I have not been completely honest with you, it is only because I know a great deal of things that you do not want to know. I am going to ask that you trust me when I tell you I am trying to make things better. It is an extremely delicate balance and there are a great many factors involved. The best we can do right now is take everything as it comes, and not to worry ourselves over things that have happened, or things that are to come.

There are other people, other economies, governments, cultures, religions, and destinies going on at the same time as yours. You have to widen the scope of your lens and start seeing more. Because Americans, it's easy to make us freak out. When the going gets rough, you have to get conservative. That's what's happened to America in the last eight years. I just try to point out that there's more going on than most people pay attention to.

Comedy Central wanted to do a show with me, I had a couple failures under my belt with them already, but they still wanted to try something else. They came to me and said they wanted to do something that was internet focused and created original content on their site, so they could compete with the funny or dies and what not. So that was the premise, and they gave us a small amount of money, $5000, and from there it turned into the show.

It's just a matter of who you are and how you talk to people. Your subjects will trust you only if you're confident about what you're doing. It really bothers me when photographers first approach a subject without a camera, try to establish a personal relationship, and only then get out their cameras. It's deceptive. I think you should just show up with a camera, to make your intentions clear. People will either accept you or they won't.

One thing I see in a lot of coaches is they try to live through the fighter. You can't live through the fighter. You gotta allow the fighter to be the fighter, and do what he do, and you just try to guide him. Why should I have to live through a fighter, when I went from eating out of a trashcan to being eight-time world champion? I stood in the limelight and did what I had to do as a fighter. I've been where that fighter is trying to go.

I'm not putting any of this well. I am not and never have been an intellectual. I am not articulate, and the subjects that I am trying to describe and discuss are beyond my abilities. I am trying, however, the best I can, and will go back over this as carefully as possible when I am finished, and will make changes and corrections whenever I can see a way to make what I'm discussing clearer or more interesting without fabricating anything.

When you shoot a film, when it was film, there used to be rushes and normally a director would look at them the next day. All directors look at the rushes, except for Fellini. I asked him why he didn't and said, "Because it interrupts my fantasy." What he was trying to say was that he had a three-dimensional, vibrant, living, volatile fantasy going on in his head, and when he looked at rushes, they were two-dimensional and they killed it.

For our family, the entire structure of our life, our home, our business relationships - the entire purpose is for everyone to be able to create in a way that makes them happy. Fame is almost an inconsequential by-product of what we're really trying to accomplish. We are trying to put great things into the world, we're trying to have fun, and we're trying to become the greatest versions of ourselves in the process of doing things we love.

There's no razor in candy. If for no other reason, it doesn't make financial sense. It's not fiscally prudent. How much does a piece of candy cost - like, a penny and a half? An apple's like 15 cents? Anybody here bought a Mach 3 replacement cartridge recently? They're so expensive, they don't even keep them on the shelf. You know, you have to ask the people behind the counter. I feel like I'm trying to buy enriched plutonium or something.

Share This Page