Trying Quotes - Page 363

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In business, you don't necessarily need heart, whereas here, in government, almost everything affects people. So if you're talking about health care - you have health care in business but you're trying to just negotiate a good price on health care, et cetera, et cetera. You're providing health. Here, everything, pretty much everything you do in government, involves heart, whereas in business, most things don't involve heart. In fact, in business you're actually better off without it.

Another thing you end up doing when you get older, is you spend so much time sort of trying desperately to keep from just looking just a little older. You're just constantly putting stuff on your face and having things removed from yourself and opening up copies of "Vogue" so that you can find new ways to throw whatever money you've managed to save into the arms of some doctor who has just come up with a new way of lasering your face that feels like electroshock and all these things.

Clarabelle...Clarabelle... You worked as Kenspeckle Grouse's assistant, did you not?' 'One of the. He fired all the others.' 'But not you?' 'He fired me on the second day, but I kept coming in. I had nowhere else to go.' 'And then you killed him.' 'Yes.' 'A Remnant squirmed inside you, and you killed Kenspeckle Grouse.' 'Yes.' Nye grinned. 'You're hired. But I have warn you, if you try to kill me, I will dissect you and sing along to your screams.' 'Can I have Mondays off?' 'You may.

Sure am glad I'm not royalty," I muttered. "I wouldn't want to have to bump uglies with someone I can't stand. On a regular basis. And no one else." "Ow!" I exclaimed, trying to yank my fingers from Trent but finding them caught. Then I colored, realizing what I'd said. "Oh… sorry," I stammered, meaning it. "That was insensitive." Trent's frown turned into a sly smirk. "Bump uglies?" he said, eyes on the table behind me. "You are a font of gutter slang, Rachel. We must do this again.

What I'm suggesting is we are going to look back, and we're going to see what happened in Syria, and we're going to see the larger destabilization of the Middle East, the rise of extremism, and we're going to wonder... Why didn't we at least try to force a political solution - at an acceptable cost to us, because no one is saying we should send in ground troops - and if we did it would be worse than doing nothing... If we do not act, we are going to look back and wonder why we didn't.

Doing an interview you're going to have certain things you want to get at, but you're better off if you play to people's strengths a bit. You're also assessing how it's going and adjusting as needed. Does your subject seem up for it, willing to do it, and is he or she enjoying the interview? Or do they need to be coaxed, or reassured, or whatever they might need from you? Like writing, interviewing is a process that you keep learning, and you're always trying to get better and better.

Typically to get toward a productive outcome in negotiation you have to make the initial move of genuinely exploring someone's model. If you don't, it is unlikely that they will be willing to explore yours. And if you genuinely explore and understand theirs - without judging it - they will be willing to explore yours. Once they reach that point, they are primed to explore the productive combination of both models and won't be as obsessed about trying to make sure their model prevails.

Students typically are at a period of their lives when they're more free than at any other time. They're out of parental control. They're not yet burdened by the needs of trying to put food on the table in a pretty repressive environment, often, and they're free to explore, to create, to invent, to act, and to organize. Over and over through the years, student activism has been extremely significant in initiating and galvanizing major changes. I don't see any reason for that to change.

I've been trying to fit everything in, trying to get to the end before it's too late, but I see now how badly I've deceived myself. Words do not allow such things. The closer you come to the end, the more there is to say. The end is only imaginary, a destination you invent to keep yourself going, but a point comes when you realize you will never get there. You might have to stop, but that is only because you have run out of time. You stop, but that does not mean you have come to an end.

It's sad. There's a lot about this industry that a lot of people don't know about and don't find out about. There are a lot of tough things and trials and stuff that you're faced with. Sometimes, God has other plans for people. Sometimes bands can't stick through it. It depends on the situation. Keep praying for the bands that you like, seriously, because a lot of things will try to get in the way of being together. We've been blessed with not deal with those yet, but if we ever did...?

You might say that, if citizens are acting for the right reasons in a constitutional regime, then regardless of their comprehensive doctrines they want every other citizen to have justice. So you might say they're all working together to do one thing, namely to make sure every citizen has justice. Now that's not the only interest they all have, but it's the single thing they're all trying to do. In my language, they've striving toward one single end, the end of justice for all citizens.

The Naval Academy is a very prestigious place, and I choose to try it. I got there and darn near didn't pass, just about flunked out the first year, but a commandant by the name of Bush Bringle managed to call me in one day and taught me more about leadership in about 15 minutes than I have learned in the rest of my life. And because of Bush Bringle I regained some faith and confidence in myself, learning I had a little bit more in me than I thought, and I went back to work and finished.

I love performing. I love doing improv. It's a totally terrifying experience, but it's something that I've always felt so strongly about and that I'm kind of obsessed with. And just as an actor, it's a great exercise. It's a great playground, you know, to try things out and to work on your skills. Because the mandate of improv is kind of the same as acting: It's all about your scene partner, it's all about being present and in the moment and exploring together as a team, a collaboration.

It is superfluous to try by the standards of theory, a part of the constitution which is allowed on all hands to be the result not of theory, but "of a spirit of amity, and that mutual deference and concession which the peculiarity of our political situation rendered indispensable" . . . the equal vote allowed to each state, is at once a constitutional recognition of the portion of sovereignty remaining in the individual states, and an instrument for preserving that residuary sovereignty.

When we're in the story, when we're part of it, we can't know the outcome. It's only later that we think we can see what the story was. But do we ever really know? And does anybody else, perhaps, coming along a little later, does anybody else really care? ... History is written by the survivors, but what is that history? That's the point I was trying to make just now. We don't know what the story is when we're in it, and even after we tell it we're not sure. Because the story doesn't end.

When I was in N.W.A. and didn't get paid all the money I was owed, that's when the business side of showbiz hit me. I thought, "Half of this is workin'. I'm famous, but now I need to be famous with some money." That got my brain started at trying to figure out the business end. And once I figured out the business side, I next came to understand that success really comes down to the product, not to me, my personality, or what club I'm seen going into or coming out of. None of that matters.

We always seem to be surprised by events, especially by catastrophes, but also by wonderful events. Look at 1990, the year that the Soviet Union collapsed and apartheid in South Africa collapsed and the Berlin Wall came down. I don't know anyone who foresaw those events. It seems to me that as a species we are constantly trying to adapt ourselves to the unexpected. In the meantime, we talk as if we are in control, and we're not. This seems to me to be the truth about the twentieth century.

Do you understand how there could be any writing in a spider's web?" "Oh, no," said Dr. Dorian. "I don't understand it. But for that matter I don't understand how a spider learned to spin a web in the first place. When the words appeared, everyone said they were a miracle. But nobody pointed out that the web itself is a miracle." "What's miraculous about a spider's web?" said Mrs. Arable. "I don't see why you say a web is a miracle-it's just a web." "Ever try to spin one?" asked Dr. Dorian.

There is a way by which persons can keep their consciences clear before God and man, and that is to preserve within them the spirit of God, which is the spirit of revelation to every man and woman. It will reveal to them, even in the simplest of matters, what they shall do, by making suggestions to them. We should try to learn the nature of this spirit, that we may understand its suggestions, and then we will always be able to do right. This is the grand privilege of every Latter-day Saint.

I am constantly trying to communicate something incommunicable, to explain something inexplicable, to tell about something I only feel in my bones and which can only be experienced in those bones. Basically it is nothing other than this fear we have so often talked about, but fear spread to everything, fear of the greatest as of the smallest, fear, paralyzing fear of pronouncing a word, although this fear may not only be fear but also a longing for something greater than all that is fearful.

When you screen it the first couple times, you're just trying to get the movie to work, trying to get the story to flow, trying to find out where your areas are where you have enough breath to laugh a little bit. So you're doing that the first two or three screenings, and then finally, you dial the movie in and it's working, and at that point, it's 50/50 as far as what's funny and what's working. Sometimes you'll put something in and it will just die so hard that it'll almost kill the movie.

The Disney sale happens, Clone Wars closes out, and they start Rebels. And I remember talking with Dave Filoni at the studio, at a time when I didn't know what I would or wouldn't be doing for Star Wars. And Dave kind of shrug his shoulders and says what I don't have the courage to bring up, which is, "You know Maul is coming into Rebels, right?" And I was hoping! I feel like this guy, he got his mileage. He's had more than his fair share at trying to make his mark on the Star Wars universe.

When you say there's too much evil in this world you assume there's good. When you assume there's good, you assume there's such a thing as a moral law on the basis of which to differentiate between good and evil. But if you assume a moral law, you must posit a moral Law Giver, but that's Who you're trying to disprove and not prove. Because if there's no moral Law Giver, there's no moral law. If there's no moral law, there's no good. If there's no good, there's no evil. What is your question?

What I see is trying to make sure that everybody thinks you have more than what you actually have. What’s the point if you actually don’t have it? If you don’t have it, then you don’t have it. Have what you have. Enjoy that . . . The craft is everything. Don’t be afraid of not being the wealthiest person in the room. Be the smartest person in the room. Be the slickest person in the room. Be the most creative person in the room. Be the most entertaining person in the room. Just be in the room.

We live in a society of social networks, with Twitter pages and Facebook, and that’s fine, but we have contact with our work associates, our family, our friends, and it seems like half the time we are more preoccupied with our phone and other things going on instead of the actual relationships that we have right in front of us. Hopefully, people can learn from this and try to actually help if someone is battling something deeper on the inside than what they are revealing on a day-to-day basis.

A writer's job is not complete without attention to precision. What you're trying to be precise about is your relationship to the observed thing. And "observed thing" could include remembered thing, fantasized thing, fictionalized thing, recorded thing, trans-altered thing. It's the model that's in front of you or in your brain or your memory or whatever. So you're trying to be precise about what it is you're seeing because it's very unlikely that you're going to be able to depict it as it is.

Let us ask... how things work at the level of on-going subjugation, at the level of those continuous and uninterrupted processes which subject our bodies, govern our gestures, dictate our behaviors, etc... we should try to discover how it is that subjects are gradually, progressively, really and materially constituted through a multiplicity of organisms, forces, energies, materials, desires, thoughts, etc. We should try to grasp subjection in its material instance as a constitution of subjects.

I always say, "Don't let a 'no' or even a dismissal defeat you, let it be the fire that makes you want to go. Every time someone says, "No," that makes me even more determined. That's one of the things I want to try to teach young people. Oddly, the other thing I want to teach the young people is to get a hobby. That's what I first say: "Do something that brings you happiness other than acting, because this business is so fickle." I make blankets and stuffed animals. I don't know. I'm a weirdo.

The general public doesn't know and probably doesn't care about punctuated equilibria nor indeed should they, or the greenhouse effect on some other planet - they barely have the ability to cope with the greenhouse effect on their own planet. So I think you have to distinguish between the broad visibility of a scientist when he or she is speaking to a general public and trying to address general issues and the continued position that a scientist may have into the history of a particular subject.

You know, I’ve had a really wonderful night tonight. I got to tell Kyrian and Julian that Valerius is in town and spent, oh I don’t know, three, four hours trying to keep them from going after the Roman. Then, just when I could relax and do my job, I find out there are Daimons in the swamp and no Talon to kill them. And why wasn’t Talon here? Because Tarzan was swinging off a balcony to save Jane from Cheetah. Now all I can do is stand here and say, next fiasco, please, right this way. (Acheron)

There are lots of incredible people who are working in very flawed structures that are designed to keep us apart, so we're going to have to figure this out. The first stage is just talking about it openly: We are all working within structures where there is a disincentive to do what we most need to do, which is come together. I don't know what the answer is but I definitely think that that first stage is just being honest about it and trying to speak about it in a way that is not just accusatory.

Johnny Apple, a New York Times correspondent, wrote a front-page story saying Afghanistan could be a quagmire and he was mocked and derided. What is certainly true is that all sorts of resources that would have been used in Afghanistan were diverted to Iraq. Would those resources have helped? Almost undoubtedly. Whether or not Afghanistan would be a peaceful nation-state had we not gone into Iraq I doubt. Afghanistan is going to be Afghanistan, no matter how hard we try to make it something else.

If I'm a CEO and I say, 'Misogyny will not be tolerated', that's a more powerful statement than 'It is my sincere hope and our intention to eradicate misogyny from this company'. Sometimes saying things in that more categorical form, has a real function. Although, if you dig beneath it, it is actually one of J.L. Austin's illocutionary acts; you're trying to make something happen rather than describing something already happened. The fact that it has the grammatical form of a description is fine.

The classic one for me is one of my favorite images - left-versus-right political-spectrum image. I was trying to visualize the concepts on the political spectrum. I'm left-leaning, and I discovered as I was doing it that I had an impulse to make the left-hand side appear better than the right-hand side. That was manifesting in the way I was choosing certain words, framing certain ideas. I shared it with a few people, and they all said, "Oh my God, this is really biased." I hadn't seen it at all.

For younger athletes - women, especially, if it's a male-dominated sport - I'd say be very careful to just be true to yourself. I spent a lot of time trying to emulate how a male wrestler was. They're tough, they're very confident, they don't show a lot of emotion, and they push through everything. That's not me at all. I'm a wrestler but I have emotions, I'm sensitive. When I stopped trying to be something that I wasn't, I felt like I was freeing myself up to find ways to make it work for myself.

Who are we talking about? We're talking about the people that are trying to criminalize Donald Trump. We're talking about the people that are trying to impeach him. We're talking about people who are trying to via innuendo and leak and media assassination, we're dealing with people that are trying to destroy Donald Trump and his press secretary just signaled that they are serious about reaching out to these people to try to get certain things done, legislatively, like infrastructure or tax reform.

Sixty-five days principle photography, five-day weeks, which is the only way I'll work. With my cinematographer Russell Boyd, we take as much time as possible before pre-production, looking at stills. The next most important thing: he will come to me and talk about lenses. And I'll see his plan, which is generally great, and I might talk about how the light will be, handheld or not? I talk very freely, and try not to talk specifically, just talk around it, because it can unlock all sorts of things.

I think the beauty of the film industry is that if another person tries to become another person or act like another person or imitate another person, they don't really get too far. When that person starts to realize who they are and what they can bring to the table, they start to blossom and grow. With that, it's not so much me looking towards my predecessors who have paved the way in the industry - it's more getting inspired. I get little bits and pieces of what I can take from any and everybody.

It was a figure painting class, where you had a model, and [Robert von Neumann ] would wander around and he'd come up behind someone and say, "Well, what are you trying to do?" And if you told him what you were trying to do, he would then proceed to discuss this with you and suggest things that you might look at and ways in which you could improve what you were attempting to do, etc - never worked on your painting, never touched your painting but talked extensively about what you were trying to do.

The impresario function is about intervening with the company's more administrative management structure. It is about trying to establish a sense of boundaries and budgets and milestones and so forth on a project that does not necessarily lend itself to milestones. It is about translating between the intimate interior environment of the creative work team and the company's need to make money. And finally, it is about positioning the fruits of the creative process in the marketplace and selling them.

I have been taking some classes in woodworking. It's really helpful just looking at a problem, and having a very tangible way in constructing it. So much of the work that I'm used to begins in such a muddy realm and you try to shed light on it, make something grow out of it, but you don't really have anything to show for it except for the actually doing of it. But with woodworking, it's really sort of gratifying to be able to have an actual piece to touch, and then step back and be able to share it.

I never actually sexually attacked anybody. But I'm a writer, too, and I was always trying to figure out a way to recreate the experience of being this Albert Camus, Stranger-like solitary protagonist character without incriminating myself in any way, like, "Oh, what a perv!" I want to reach out to anybody out there who may have been riding on the train one time when things in their life were completely falling apart and saw a girl's legs in a skirt and it's the last bit of goodness that you can see.

When I started, the scripts weren't as good, and you'd have to have a huge burst of energy to go, "Sheesh, how am I going to? This stuff's no good." So you'd have to improvise something or create something or try to work with the ware and try to figure out, how do you make this visually and orally acceptable, entertaining? Nowadays, the scripts are just so much better, that you don't have to feel that way. You feel like the script's coming to you, you can just relax. You don't have to drive the boat.

So for all that we might speak words in each other's vicinity, this could never develop into anything that could be called a conversation. It was as though we were speaking in different languages. If the Dalai Lama were on his deathbed and the jazz musician Eric Dolphy were to try to explain to him the importance of choosing one's engine oil in accordance with changes in the sound of the bass clarinet, that exchange might have been more worthwhile and effective than my conversations with Noboru Wataya.

I feel like I'm changing as a human being, and I think that the work needed to be in line with where I'm at. When I was younger and I was making political work, I was trying to figure out where my work fit in because when you're young you're like, "I don't know." I'm Latino, I grew up in Mexico, and so I thought that maybe I had to talk about those things. Then finally I didn't need my identity to rely on anymore. So now the work is becoming about more esoteric things, I guess - my own sort of language.

The German health care system is unique in its attempt to combine competition among sickness funds on the one hand and a universal coverage plan on the other hand. Most health care systems are either one or the other, so you either have private insurance and competition but not everyone is covered for everything, or you have a single-payer system. So the ideal types are like the American system on the one hand or the Scandinavian or U.K. systems on the other end. Germany tries to combine the advantages.

When I'm writing about complicated subjects, it usually involves a world. It could be the world of Scientology or the world of Al Qaeda, or the world of counter-terrorism.I look for emblematic beasts of burden - what I call "donkeys" - who can carry the reader through this world. They serve a different purpose. Donkeys are not especially interesting or likeable, but they are serviceable. They will take you into this world. The distinction I'm trying to make is: It's not about them. It's about the world.

I think that one of the things is that, if you are going to decide to be a painter, you have got to decide that you are not going to be afraid of making a fool of yourself. I think another thing is to be able to find subjects which really absorb you to try and do. I feel that without a subject you automatically go back into decoration because you haven't got the subject which is always eating into you to bring it back - and the greatest art always returns you to the vulnerability of the human situation.

Narco fiction novels have a reputation, at least here in Mexico among some of the writers I know, of being somewhat rushed productions, usually written in one way or another like crime thrillers, with something cheesily exploitative about them. It feels exploitive - taking this horrible and ongoing tragedy and trying to turn it into something entertaining. Or trying to turn it into something that might earn the writer a reputation of the sort that many writers believe they aspire to. Or earn them money.

I had been in a place where I was letting too many people dictate who I should be and what I should be, and I was trying to make everybody happy to the point where it was just killing me. I'd completely lost myself. It's kind of funny now that people think I've completely changed myself for Marilyn Manson, when this is actually the first time in my life that I took a stand and said, "This is who I am and this is who I've always wanted to be, and I'm finally with somebody who lets me be who I want to be."

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