Quotes of All Topics . Occasions . Authors
I even think the commercial element of new American directors is really fertile right now. There are a lot of filmmakers with very particular visions, like Sofia Coppola and Wes Anderson and P.T. Anderson and Alexander Payne and Peter Sollett and Harmony Korine and Vincent Gallo. At least they're making films that they choose to make, and they're on their own. That's positive to me. This is not a dead period for American cinema at all.
The reason I wouldn't dare to write a Western is simply because that seems to be so much a part of American culture. Maybe if I want to write a Western enough I should try to overcome that fear, but I'll certainly feel like I'm trespassing. I feel that that is so much a part of American foundation myth, it's part of the myth of America, the American vision of what America is, which people have glorified and then challenged and then vilified.
One of the most extraordinary examples in recent decades [of unitary visions of constitutional enterprise] is found in a book called "Takings"... Epstein makes an extremely clever but stunningly reductionist argument that the whole Constitution is really designed to protect private property... Can a constitution reflecting as diverse an array of visions and aspirations as ours really be reducible to such as sadly single-minded vision as that?
The writer is a person who is standing apart, like the cheese in 'The Farmer in the Dell' standing there alone but deciding to take a few notes. You’re outside, but you can see things up close through your binoculars. Your job is to present clearly your viewpoint, your line of vision. Your job is to see people as they really are, and to do this, you have to know who you are in the most compassionate possible sense. Then you can recognize others.
I love a vision board. I have one hanging over my desk right now. Because what you see, you become, and it reminds you when you start getting busy in the day, about your vision. I like words more than pictures. I have a card sitting on my desk right now that says, "I only give out that which I wish to receive in return." It's one of Louise Hay's cards. Words remind me more and it gives me something to hold onto when I'm frantic about something else.
From my student days I found him a compelling and fascinating, though often puzzling, figure. It's a lifelong fascination now and I don't expect that to stop! His vision of God, God's faithfulness, God's purposes and so on is so much bigger and richer than almost any subsequent Christian thinker has ever managed. In addition, I have always loved ancient history, especially the history of the early Roman empire, and of course Paul fits right into that.
Truthfully, in the beginning [of MacGyver] this could have gone either way, and as it turned out there was a version that was done wrong, which I'm not even going to get into. It was a pretty good idea and I liked where it was going, but then we got a chance to restart with Peter Lenkov [as executive producer/showrunner], who brought his vision to it. I remember reading his pilot script and it was just so exciting that I started hopping around my room.
The vision shared by both [French utopian] Charles Fourier and Robert Owen was for an entire town to fit into one structure. Owen's design for what he called a "parallelogram" was essentially to have a whole city in one building, laid out around a huge quadrangle. Fourier's scheme was to build a massive Versailles-like structure that he called a "phalanstery." In both cases they had these architectural dreams that we now recognize as pretty unappealing.
I never did know exactly what was meant by the term "The Beats," but let's say that the original meeting, association, comradeship of Allen Ginsberg, myself, Michael McClure, Lawrence Ferlinghetti, Philip Whalen, who's not here, Lew Welch, who's dead, Gregory Corso, for me, to a somewhat lesser extent (I never knew Gregory as well as the others) did embody a criticism and a vision which we shared in various ways, and then went our own ways for many years.
We're finally becoming aware of a process that has been unconscious since human experience began. From the start, humans have perceived a Birth Vision, and then after birth have gone unconscious, aware of only the vaguest of intuitions. At first in the early day of human history, the distance between what we intended and what we actually accomplished was very great, and then, over time, the distance has closed. Now we're the verge of remembering everything.
To actually be possessed or possess someone in a way that is unimaginable when you're a young person struggling about your body and whether anybody would ever want you, that's a huge world and that doesn't shift because you're fifty; it doesn't shift because you're 80. It's a vision of the possibility of claiming the right to dream and imagine an impossible place that you were never allowed to go, but you want the world to have as a possibility in the future.
Hyper-selectionism has been with us for a long time in various guises; for it represents the late nineteenth century's scientific version of the myth of natural harmony all is for the best in the best of all possible worlds (all structures well designed for a definite purpose in this case). It is, indeed, the vision of foolish Dr. Pangloss, so vividly satirized by Voltaire in Candide the world is not necessarily good, but it is the best we could possibly have.
By the time I went to the pulpit, the vision was never on the same level as when God first gave it to me; it was clearer and bigger. It was better because the body of Christ complemented what God had given me. So when I gave the vision to the congregation, the influencers already bought it. Then after the people have heard my message, and migrate to the influencers, these influencers are already my allies and help me communicate the vision to the congregation.
If you could only see the vision I have. I wish I had your bodies to do this work. I would run from house to house telling everyone of the gospel, and after I lost strength to run I would begin to walk, and after I collapsed from walking, I would begin to crawl, and after my knees were so bloody that I could not use them I would use my arms to drag myself, and once my muscle in my body was gone I would begin to yell…oh, only if you could see the vision as I have.
Among all the many great transitions that have marked the evolution of Western civilisation ... there has been only one-the triumph of Christianity -that can be called in the fullest sense a "revolution": a truly massive and epochal revision of humanity's prevailing vision of reality, so pervasive in its influence and so vast in its consequences as to actually have created a new conception of the world, of history, of human nature, of time, and of the moral good.
Confronted with the loving-sharing Consensus of subject-SUBJECT relationships all Authoritarianism must vanish. The Fairy Family Circle, co-joined in the shared vision of non-possessive love - which is the granting to any other and all others that total space wherein each may grow and soar to his own freely-selected, full potential - reaching out to one another subject-to-SUBJECT, becomes for the first time in history the true working model of a Sharing Consensus!
The people at the label were great but at the end of the day our visions didn't match up and I knew I had to do it my way. The potential success that could come with signing with a major label didn't quite outweigh how important it was for me to make my music the way I knew it needed to be made. It was a hard decision to make, but I've never regretted it for a second and it's only become more clear to me after making and releasing Stairwells that it was the right one.
It takes a lot of time to be a good junkie or alcoholic - you spend hours getting the necessary supplies, then imbibing, then recovering, rinse and repeat. That's like eighteen hours of a day. And assuming you get out of that lifestyle before it macerates your heart, you have that Junkie Tunnel Vision, except now you get to use it for something positive: you know how to work tirelessly for one thing. Instead of using that tunnel vision to get high, I use it to make art.
The first generation of school reformers I talk about - nineteenth century education reformer Horace Mann, Catharine Beecher - they are true believers in their vision for public education. They have a missionary zeal. And this to me connects them a lot to folks today, whether it's education activist Campbell Brown or former D.C. public schools chancellor Michelle Rhee. It's a righteous sense, a reform push that's driven by a strong belief in a particular set of solutions.
When we generate utopian visions and hope to make them happen soon – when we elect Barack Obama and expect all our problems to be solved, and solved quickly, by his presidency – the outcome is both predictable and tragic. That is not the way to engage social change in a democracy. And it is not the way to help democracy itself survive and thrive. Democracy is a non-stop experiment. Each generation must help sustain it, which means being in it day-by-day for the long haul.
Definitely we see throughout history that American teachers are asked to be very self-abnegating. They're not supposed to be concerned with the conditions of their labor, they're not supposed to care about pay. This is the kind of vision of the ideal teacher, which is again and again brought to the fore by reformers, the ideal teacher as someone who is passionately driven to serve children. Almost to the exclusion of a more pragmatic view of what the job actually entails.
It will seem as if you were making the visions banal — but then you need to do that — then you are freed from the power of them Then when these things are in some precious book you can go to the book and turn over the pages and for you it will be your church — your cathedral — the silent places of your spirit where you will find renewal. If anyone tells you that it is morbid or neurotic and you listen to them — then you will lose your soul — for in that book is your soul.
In film, it's up to the director to tell the story in whatever way he sees fit, and however you fit into that ultimate vision is where you fit in. So what you did on that stage, on that set, may not be what you ultimately see when you see the final product. And TV works so fast, it works so fast, it's just about product. The average TV show, one episode shoots eight, 10 days. That's it. You get three or four takes for a scene, and then it's over. But people do it for the money.
The great works belong to no one nation, no one cultural tradition even. They are universal.I want an Australian vision of arts policy that is expansive, is embracing, is not narrow, is not parochial. For example, that Australians can do Shakespeare just as well as Englishmen can because we, like every civilised nation, partake of the great canonical works. It's not about Australian nationalism; it's about our identity as a culturally ambitious, culturally sophisticated nation.
The brilliant creative core of capitalism ... is the story the entrepreneurs and capital investors tell themselves about the future. How they intend to alter it, what they expect to gain in return, where they will raise the capital to accomplish their vision. Many of their stories turn out to be flawed or mistaken, of course, but the capacity to envision a set of future events and then act to fulfill them is a central source of capitalism's strength and its dominance of society.
Innovators and creators are persons who can to a higher degree than average accept the condition of aloneness. They are more willing to follow their own vision, even when it takes them far from the mainland of the human community. Unexplored places do not frighten them- or not, at any rate, as much as they frighten those around them. This is one of the secrets of their power. That which we call genius has a great deal to do with courage and daring, a great deal to do with nerve.
There's another little vision in my life, going into a restaurant in New York years ago: All the women are sitting in their little strapless dresses with their cleavage, and there's this one woman in a sleeveless turtleneck and pants. And I can tell you that every man in that restaurant looked at that woman's arms. It was hypnotizing when everything was covered up. Just the face, the conversation - and you see the arms. And the arms and the hands become an obsession. I like that.
It's not "You might as well,"-it's that art was the only option. My last ayahuasca -vision was a very clear vision that I had to go back to the world. I'd been having these extreme jungle-based visions-having my bones cleaned by shaman spirits, being eaten by alligators or consumed by the earth and insects-basically unifying with all things through consumption by jungle creatures. Then my last vision was of getting on a plane and heading back to the West and just dealing with it.
I like the iPhone, the iPad, all the various members of that family. But I like all the various technologies that are becoming available to make the world more accessible to people who are blind and with low vision. I also like that more and more people are committing themselves to close captioning so the deaf can really know what's going on. I like the position of making buildings more accessible by having ramps and various ways people who are paraplegic to be able to get around.
Most Chinese filmmakers grew up watching television; they watched films on television, not in cinemas. The scope of their vision is not big enough, they're not yet detail-oriented enough. You have to watch films in cinemas for years to understand the depth and scope of vision needed in filmmaking. Directors in China usually come from an academic background; they graduate as film directors. Whereas the directors from Hong Kong learn their trade on sets, beginning at the lowest rung.
I generally go into a movie with a very strong vision, with how I want to make the film, how I want to shoot the film, how I want to edit the movie, what I want the sound to sound like. So I have a very concrete idea even if I don't storyboard it, I know exactly what I want to do once I get into the sequence. Now having said that, I try not to let that slave me to the process. So if I do storyboard a sequence I don't necessarily stick to it if I discover more exciting things on set.
The creative process for a musician is very different than for a filmmaker. I have an idea and I can pretty much execute it. As old as I am now and as long as I've been doing it, I can pretty much get it done in a week. While a filmmaker has a great idea that should be out tomorrow, but he has to go through this process of getting financing, then selling it, then casting. I've always been in awe of filmmakers and their patience in realizing their vision because I could never do that.
Your printers have made but one blunder,Correct it instanter, and then for the thunder!We'll see in a jiffy if this Mr S[pencer]Has the ghost of a claim to be thought a good fencer.To my vision his merits have still seemed to dwindle,Since I have found him allied with the great Dr T[yndall]While I have, for my part, grown cockier and cockier,Since I found an ally in yourself, Mr L[ockyer]And am always, in consequence, thoroughly willin',To perform in the pages of Nature's M[acmillan].
Is it a coincidence that stories from the private life became more popular just as the grand hope for public redemption through revolution was beginning to sour? I witnessed a similar shift in taste in my own time. In the 1960s, while a hopeful vision of a just society arose again, countless poems and plays concerning politics and public life were written, read, and performed. But after the hope diminished and public life seemed less and less trustworthy, this subject was less in style.
You have to accept that the moment you hand a script to a director, even if you've written it as an original script, it becomes his or her movie. That's the way it has to be because the pressures on a director are so staggering and overwhelming that if he or she doesn't have that sort of level of decision making ability, that sort of free reign, the movie simply won't get done. It won't have a vision behind it. It may not be your vision as a screenwriter, but at least it will have a vision.
Lawyers have a way of seeing that sets them apart from the rest of us. In some way this special vision makes them invaluable, and in other ways, repulsive. Lawyers are much more focused on rational, logical, and objective criteria to the exclusion of the emotional, subjective, and sometimes irrational reponses to the world. Moreover, lawyers like to show no emotion, and possess a particular disdain for the emotions that are found in others, which has the quality of making them seem inhuman.
We reject the killing of innocents to achieve a radical and violent agenda. The terrorists and their state sponsors, Iran and Syria, have a much darker vision. They're working to thwart the efforts that of the Lebanese people to break free from foreign domination and build their own democratic future. The terrorists and their sponsors are not going to succeed. The Lebanese people have made it clear they want to live in freedom. And now it's up to their friends and allies to help them do so.
Yet I saw crypts when I looked at him, and I heard the beat of kettledrums. I saw torchlit fields where I had never been, heard vague incantations, felt the heat of raging fires on my face. And they didn't come out of him, these visions. Rather I drew them out on my own. Yet I never had Nicolas, mortal or immortal, been so alluring. Never had Gabrielle held me so in thrall. Dear God, this is love. This is desire. And all my past amours have been but the shadow of this." — Lestat de Lioncourt
God grant that each of us here today may so live that all among us, and with us, may see, not us, but that which is divine and comes from God. With that vision of what those who have lost their way may become, my prayer is that they may receive strength and resolution to climb higher and higher and upward and onward to that great goal of eternal life and also that I may do my part in seeking to show by example, as well as by precept, that which will be the best of which I am capable of doing.
The filmmakers that I studied and appreciated growing up are the ones that are able to dictate their vision clearly to each department, and they know the language of how to communicate with each department well enough, so that their vision is clearly transferred to the screen. So I like to spend time on sets learning from all of the departments and seeing how they approach their jobs. It's not just filmmakers, you know? There's so many mediums involved. I love learning about all of the mediums.
While a modicum of consciousness may have had survivalist properties during an immemorial chapter of our evolution – so one theory goes – this faculty soon enough became a seditious agent working against us … we need to hamper our consciousness for all we are worth or it will impose upon us a too clear vision of what we do not want to see … Consciousness has forced us into the paradoxical position of striving to be unself-conscious of what we are – hunks of spoiling flesh on disintegrating bones
We have all kinds of limitations as human beings. I mean we can't see the whole electromagnetic spectrum, we can't see the very small, we can't see the very far. So we compensate for these short comings with technological scaffoldings. The microscope allows us to extend our vision into the microsphere. The telescope allows us to extend our vision into the macrosphere, the Hubble Space Telescope extends our optic nerve into space, and it allows us to mainline space and time through our optic nerve.
The immersive stories of This Is Paradise are a lithe blend of formal invention and traditional narrative pleasures. As such they reflect Kristiana Kahakauwila's intimate but expansive vision of a Hawai'i forged from the collisions of past and present, here and there. Her protagonists are as richly distinctive as the pidgin they speak, and yet each struggles profoundly with identity-that negotiation between ourselves and the world, which is at once Hawaiian, American, universally and compellingly human.
The mere possession of a vision is not the same as living it, nor can we encourage others with it if we do not, ourselves, understand and follow its truths. The pattern of the Great Spirit is over us all, but if we follow our own spirits from within, our pattern becomes clearer. For centuries, others have sought their visions. They prepare themselves, so that if the Creator desires them to know their life's purpose, then a vision would be revealed. To be blessed with visions is not enough...we must live them!
Cristina Eisenberg weaves her observations as a scientist and her personal experiences afield into a resonant account about the web of life that links humans to the natural world. Grounded in best science, inspired by her intimate knowledge of the wolves she studies, she offers us a luminous portrait of the ecological relationships that are essential for our well-being in a rapidly changing world. The Wolf's Tooth calls for a conservation vision that involves rewilding the earth and honoring all our relations.
If a dream can tell the future it can also thwart that future. For God will not permit that we shall know what is to come. He is bound to no one that the world unfold just so upon its course and those who by some sorcery or by some dream might come to pierce the veil that lies so darkly over all that is before them may serve by just that vision to cause that God should wrench the world from its heading and set it upon another course altogether and then where stands the sorcerer? Where the dreamer and his dream?
Failure to summon forth the courage to risk a nondogmatic and nonevasive stance on such crucial existential matters can also blur our ethical vision. If our actions in the world are to stem from an encounter with what is central in life, they must be unclouded by either dogma or prevarication. Agnosticism is no excuse for indecision. If anything, it is a catalyst for action; for in shifting concern away from a future life and back to the present, it demands an ethics of empathy rather than a metaphysics of fear and hope.
If the truth is boring, civilization is irksome. The constraints inherent in civilized living are frustrating in innumerable ways. Yet those with the vision of the anointed often see these constraints as only arbitrary impositions, things from which they-and we all-can be 'liberated.' The social disintegration which has followed in the wake of such liberation has seldom provoked any serious reconsideration of the whole set of assumptions-the vision-which led to such disasters. That vision is too well insulated from feedback.
In Korea is what I do is I watch the playback of each take with all of the actors and spend a lot of time discussing each take. Also, I use the process we call auto-assembly because I storyboard my entire film right at the beginning, even before pre-production ever begins, so my vision is already laid out on the storyboard for everybody to share. It enables the on-set assembly person, as we call them, to cut together each take into a sequence. This enables a director to review the take within the context of the sequence of the scene.
Is beauty a reminder of something we once knew, with poetry one of its vehicles? Does it give us a brief vision of that 'rarely glimpsed bright face behind/ the apparency of things'? Here, I suppose, we ought to try the impossible task of defining poetry. No one definition will do. But I must admit to a liking for the words of Thomas Fuller, who said: 'Poetry is a dangerous honey. I advise thee only to taste it with the Tip of thy finger and not to live upon it. If thou do'st, it will disorder thy Head and give thee dangerous Vertigos.
