Quotes of All Topics . Occasions . Authors
Unfortunately, we don't have a bankruptcy process. Suppose the state actually just gets to the point where it cannot meet all of its promises that it's made. We might need a way to figure out, O.K., well, who's not going to get what they were promised? This is what we had to do for the city of Detroit.
When judging a horoscope, it is of prime importance that we take into consideration the social and racial standing of the individual, for configurations which are of great significance in the horoscope of an educated Caucasian may mean little or nothing in the figure of a Chinese Coolie and vice versa.
I used to always say - and I think a lot of artists think of it this way - that when you see a black figure, the way the critical establishment operated, you can only imagine that figure having a sociological value. They never say the ways in which their aesthetics were equally worthy of consideration.
Batman and the Flash have a whole lot in common behind the mask. They've both experienced loss, know forensic science, and are both a bit introverted. In 'Flashpoint,' Thomas Wayne thinks Barry is crazy, but Barry thinks Thomas is crazy. It'll be really fun seeing those two trying to figure things out.
I just always believed we would succeed. Even when everyone else said my ideas were ridiculous. Even when we were almost out of money. Even when the metrics were all upside down. I always have confidence that I'll figure something out. I just have that confidence that things are going to work out fine.
'Luther' is absolutely a monster-of-the-week show. Although it's post-watershed and is rendered in intense graphic novel-style images, it's inspiration is not that different from 'Doctor Who' as in both cases you've got a trickster figure who fights the monster of the week and is eventually successful.
We have food deserts in our cities. We know that the distance you live from a supplier of fresh produce is one of the best predictors of your health. And in the inner city, people don't have grocery stores. So we have to figure out a way of getting supermarkets and farmers markets into the inner cities.
My mother's father, Hobart Cromwell, was a bacteriologist with Abbott Laboratories in suburban Chicago. I never got to know him well, as he died very young, but he was always a heroic figure in our family, wise and gentle and intelligent by reputation, with the courage to fight against the McCarthyites.
Most students of Kissinger find it hard to say anything about Kissinger that isn't about the man himself. He is such an outsize figure that he eclipses his own context, leading his many biographers, critics, and admirers to focus nearly exclusively on the quirks of his personality or his moral failings.
I was skating with friends in my neighborhood, and then eventually I was invited to go to the skate park with one of them. When I saw people flying all around - literally flying in and out of bowls - that is when I knew I wanted to do it. I wanted to figure out how I could get there and how I could fly.
Over the years, I have really figured out what works for me. It's not about what anyone else is doing. I can't worry about whether I am doing everything that another player is doing, which can be hard sometimes. I have to trust my training and know my body and figure out what will get the best out of me.
I obviously identify with the anti-authority figure. I've pretty much always had problems with authority, ever since I was a kid. But, yeah, it's not identifying, I think it's more a part of my natural DNA that I question anybody who has a plan. Everybody's got to have an angle; that's the way I grew up.
There is a woman named Wendy Wood, who did a study when she was at Duke, and she followed around college students to try to figure out how much of their day was decision-making versus how much was habit. And what she found was that about 45 percent of all the behaviors that someone did in a day was habit.
Everything I do, writing, touring, travelling, it all comes from the punk and hardcore attitude, from that expression - from being open to try things but relying on yourself, taking what you have into the battle and making of it what you will, hoping you can figure it out as you go. Make some sense of it.
If you hunger for certain types of clothes, for which you have little use, put yourself on a diet. Just as you resist too much whipped cream and French pastry to keep your figure in shape, you can say no to those yearned-for but unneeded purchases that lead to a wardrobe that is shapeless and without form.
On stage, I'm this figure, this actor, who does things that people aren't used to seeing and I relish in that reaction. In real life, though, I play golf, I shop and I walk around with no makeup on and my hair in a ponytail. I may not be the typical middle-aged Joe, but I'm closer to normal than you think.
In order to figure this artmaking stuff out, it's trial and error and experimentation, and takes some time and hard thinking. Putting work out in many forms and stages is an extension of how I see things. I feel the art process is best served when it invites comments and constructive criticism from people.
I wake up and play a different person every day. Playing all these different characters and trying to figure out who your true authentic self is at the core of that as you're playing all these different roles, and man, that self-awareness starts to come into effect. And you start to see who you really are.
Sometimes what we call tragedy, at least in the theater, are really case histories. They're based on the central figure, and things happen to that person, and they're called tragedy because they're extremely sad. But tragedy always has a glorious thing happen at the end of it. That's what the catharsis is.
Obviously this song is an achievement for me in my career, but what makes me really feel good is to make Latinos feel proud. To provoke that pride that a pop figure and someone so big in music globally like Drake would sing with me completely in Spanish and create this hit 'MIA.' That's the best part of it.
I really believe that all of us have a lot of darkness in our souls. Anger, rage, fear, sadness. I don't think that's only reserved for people who have horrible upbringings. I think it really exists and is part of the human condition. I think in the course of your life you figure out ways to deal with that.
Years ago, I picked up figure skating. How hard could spins and jumps be, I thought? It's just applied Newtonian physics. After repeatedly falling on my rear end, I realized it was harder than I thought. But it had an upside. That is how I met my wife, who was ice dancing at the Rockefeller Center ice rink.
Mubarak would meet with me when I was at Central Command. He would lean and put his hand on my knee, as if a father figure, and say, 'General, don't ever forget the Arab Street. Listen to the Arab Street.' I'd like to go to him now and say, 'Mr. President, what about that Arab Street, what's that all about?'
I feel like there's a voice in my head, always, telling me every idea is brilliant, and another telling me every idea is the worst. And they argue in my head until somebody wins, until I solicit an audience to be, like, 'Will you help me figure this out? Is this the best or the worst idea?' And they tell me!
A lot of weird things happen to me. People call out to me on the street and I figure I know them, and I walk over. And then they start to talk about a movie, and I get so embarrassed. Sometimes they think I'm Lorraine Bracco or Laura San Giacomo or Marisa Tomei. I'm sure it happens to them all the time, too.
I remember, once I was going through Nice airport with Roger Moore, and these kids came up and asked for our autographs. Afterwards, Roger said, 'It must be very strange for you. I'm an actor, and signing autographs is part of what I do. But you're a public figure who people don't really know.' He was right.
The Trump people make it extremely hard to figure out what's going on with their businesses, so we've done things like try to figure out all the people, the charities who rented out ballrooms and hotel rooms, all the NBA teams that stay at his hotels, people that pay him a lot of money and have other choices.
One of the things that I tell beginning writers is this: If you describe a landscape, or a cityscape, or a seascape, always be sure to put a human figure somewhere in the scene. Why? Because readers are human beings, mostly interested in human beings. People are humanists. Most of them are humanists, that is.
It's a lot easier to figure out how to scale something that doesn't feel like it would scale than it is to figure out what is actually gonna work. You're much better off going after something that will work that doesn't scale, then trying to figure how to scale it up, than you are trying to figure it all out.
One of the key things for me about Madame Walker's life is that she really does represent this first generation out of slavery when black people were reinventing themselves, and as a woman who was the first child in her family born free, she was trying to figure out a way, and she moved from Delta, Louisiana.
The point is that when I see a sunset or a waterfall or something, for a split second it's so great, because for a little bit I'm out of my brain, and it's got nothing to do with me. I'm not trying to figure it out, you know what I mean? And I wonder if I can somehow find a way to maintain that mind stillness.
I enjoy writing about people falling in love, probably because I think the first time you fall in love is the first time that you have to figure out how you're going to orient your life. What are you going to value? What's going to be most important to you? And I think that's really interesting to write about.
When I'm doing a one-on-one with somebody, I have to speak in a language that that person can understand, using a vocabulary that they instantly get, and I always have to feel my way around to figure that out. It's a lot of fun, and it's also really challenging - challenging in a different way from performing.
A TV show has to be a certain length and, you know, you have expectations from the viewers. You know, you want to see the characters again, or you want to see certain dynamics between the characters or certain kinds of storylines. And you kind of figure out how to best fit what you want to say into that format.
I love being an enigma. Every time I'm tempted to respond to someone who tries to put me in a box, politically - you know, someone who gets on the Internet and says, you're pro-gun, or you're anti-gun - I stop and say to myself, 'This is great; this is what I wanted. I wanted to be the guy you can't figure out.'
Now, learning how to make a movie is something you can figure out in about an afternoon. The physics of it, the marks, the lights, etc. What's hard to do is to suspend your own feelings of self consciousness. The natural actors can do that; they can become part of a characterization and learn how to maintain it.
We're all biased, right, in many different ways - politically, religiously, ideologically, the way our family raised us - and that's fine. Nobody wants to live in a world where everybody thinks exactly the same. The key, though, is to try to figure out where your biases are holding you back from solving problems.
Class of 2009: you are going to have to figure out what it means to be a human being on Earth at a time when every living system is declining, and the rate of decline is accelerating. Kind of a mind-boggling situation... but not one peer-reviewed paper published in the last thirty years can refute that statement.
Things go wrong for me all the time with technology. I'm not familiar enough with it, and I'm too old-school a brain to be able to figure it out. I'm dumb. Anything that I have to attack with my thumbs, for any period of time, makes me feel stupid. So, I try to avoid it, as much as possible, to protect my thumbs.
I went to film school so I have a writing and directing background, and I think a lot of the material I'm interested in writing and getting out there is stories about anti-heroes and people you should just not ordinarily root for - trying to figure out a way of appealing to people they wouldn't normally appeal to.
By comparison, 'The Secret Agent' is not especially prescient about terrorism, certainly not technically. The Professor was a stock figure of Edwardian fiction, and his dreams of mass destruction were nothing ahead of their time. Many novels in the late 19th and early 20th centuries involved plots far more deadly.
I always loved writing, be it creative writing for school or just poetry. I just loved writing, and in college, I started really trying to write songs and was copying other artists, just to figure it out - but I think freshman year of high school is when I realized, 'I want to be a writer. I have something to say.'
The most difficult part of Brexit will be to figure out the trade regime between the U.K. and the rest of the E.U. because the level of trade integration between the members of the E.U. is the deepest in the world and integrates regulations that govern how products and services are produced and sold within the E.U.
I would wake up really early and go into the hotel bathroom, put a towel over the toilet, and put my laptop there. I'd put my headphones on and just write. And so now when I do writing sessions, and I am stuck on a part, or I can't figure out a chorus, I'm just like, 'Give me a second,' and I'll go to that bathroom.
When I was 26, 27 years old I was running a kitchen in New York, and I was a raving lunatic. The older you get, you figure out you don't need to do that. You realize at a certain point, there's a certain gravity to what you say and what you do. If that's not enough, all the yelling in the world is not going to matter.
Monty Python never directly said, 'We're liberals' - they just did their sketches, and you had to figure it out. Generally, they were anti-establishment, of course, making fun of the people in power. I think, comedians, that's their job - pointing out what other people might not notice and going, 'Yoo-hoo, over here.'
I've got a lot of respect for a handful of coaches, and there's a lot of great stuff put out there on film. So, I always want to stay up to speed on those current trends and figure out if you can steal something that fits your players and your system. I'm certainly not afraid to steal from some of these great coaches.
Our concerns about what we saw in Australia: an economy clearly tied to China has hitched its wagon to the tail of the tiger. In terms of the general complacency, what we heard over and over from investors and clients and potential clients is, 'yes, yes, there are some excesses, but the government will figure out a way.'
It doesn't matter who's directing, or who's doing the movie; there are a ton of things that can go wrong, and they do all the time. So you just have to figure out how to get through it, and then how the director finally puts it together, and then see what the audience takes from it. That's the most important thing to me.
One of the best and most challenging books about Orwell is by the socialist literary critic Raymond Williams. As a critic - and, in some ways, as a figure, at least within the academy - Williams was what England had in the generation after Orwell, and toward the end of his life, he became more critical of his predecessor.