Quotes of All Topics . Occasions . Authors
A healthy friendship is one where you share your true feelings without fearing the end of the relationship. It's also one where you sometimes have to let things that bug you slide. The tough moments will make you wiser about yourself and each other. They will also make you stronger and closer as friends.
Sometimes when Australians go overseas, it's as though the "Aussie" is refined out of them. I don't know why. It's never happened to me, because I'm really proud of it. I'm not embarrassed about where I'm from or who I am any more. I know who I am. I don't fit in everywhere, but I know where I do fit in.
I think that sometimes the great changes in our lives, the ones that divide time, happen so deep down and silently that we don't even know when they occur......It frequently happens that the seasons of the greatest change are the times that feel the most tranquil, the most suspended, the most...timeless.
You learn, of course, when you're working with something good, but you also can learn when you're working with things that are not good. You can see the reasons they're not good. I would sometimes suggest what could be done, but essentially say "It isn't worth the bother." So I learned from that process.
Sometimes you need to turn things down in the interest of being able to do the weird, magical thing that you do that takes so much of your time, and effort, and requires so much of your vulnerability and presence. If you don't take care of yourself, that goes away and you don't have a leg left to stand on.
The subject of the poem usually dictates the rhythm or the rhyme and its form. Sometimes, when you finish the poem and you think the poem is finished, the poem says, "You're not finished with me yet," and you have to go back and revise, and you may have another poem altogether. It has its own life to live.
I'm wired with a little bit of self-loathing, not that kind of self-loathing that paralyzes me, but it's there. The things I'm most loved for are sometimes the things that annoy me, not my favorite stuff, but those flashes of genius moments, they're called, I rarely see them as a one eureka light bulb idea.
A successful competition for me is always going out there and putting 100 percent into whatever I'm doing. It's not always winning. People, I think, mistake that it's just winning. Sometimes it could be, but for me, it's hitting the best sets I can, gaining confidence, and having a good time and having fun.
I can't say there's a job that I hated. But you know what happens, is sometimes you say, "I'm smarter than my boss." Sometimes you may feel that somebody's tellin' you what to do and bossin' you around, and you're like, "I'm a hundred times smarter than you," and even if I'm not, I would feel that way anyway.
It really really sunk into me when I went to Europe and they take rap so much more serious than we do here. That was the first time I ever heard rap considered folk music. And sometimes somebody will make you understand like, "Hey, what you doin' is serious, don't play it lightly 'cause it's changin' my life."
I was free always. I could work without the money, to film this and that. But this is another point, because now I'm alone, and I can just use it when I want. I think the digital cameras have changed my view. Even though sometimes, including the installations that I show, I mix 35mm filming and video handmade.
In my deepest, darkest moments, what really got me through was a prayer. Sometimes my prayer was 'Help me.' Sometimes a prayer was 'Thank you.' What I've discovered is that intimate connection and communication with my creator will always get me through because I know my support, my help, is just a prayer away.
It hasn't always been easy. There's a lot of hard moments. Sometimes you learn from the end of the bench. Sometimes you learn from injuries. Sometimes you learn the most through the hard things. If you can keep a good attitude and keep on working, eventually situations change, and you can put those things to use.
Singing is a way of releasing an emotion that you sometimes can't portray when you're acting. And music moves your soul, so music is the source of the most intense emotions you can feel. When you hear a song and you're acting it's incredible. But when you're singing a song and you're acting it's even more incredible.
Most songwriting like poetry takes a careful selection of words. Sometimes you're just channeling something and a selection of words come out that you wouldn't normally say, but you come up with an assortment of words that are really special. It just makes sense even if it's normally how you wouldn't express yourself.
In a lot of movies, honestly, the directors don't talk to you that much. Maybe they say, "Faster, slower," whatever. Sometimes they give you little adjustments, because sometimes you want to start out neutral, but a lot of times you wind up directing yourself anyway, just doing what you think is the right thing to do.
What happens in the studio is technically the same thing that happens on the stage. In the past I had to make quite brutal adaptations of the material to make it work on stage. I don't always like doing that because sometimes you're shaving away the things that you actually quite like about them, the spontaneity of it.
Communion with God as we hear his voice is rich. We receive his meanings; we submit to his authority; we grow by his power that is at work in our lives through his words; and we experience the glory of his personal presence as we hear him. These aspects go together, though we may sometimes be more conscious of one aspect.
I have learned one thing, because I get treated very unfairly, that's what I call it, the fake media. And the fake media is not all of the media. You know some tried to say that the fake media was all the media, no. Sometimes they're fake, but the fake media is only some of the media. It bears no relationship to the truth.
My approach has always been to put 100% into the movie I'm making right now. I think sometimes filmmakers put too much thought into the grand franchise they're going to build. And guess what? If the first movie doesn't work there is no franchise, so I'm always concentrated on making the best, best possible movie right now.
We can use the romantic relationship as a microcosmic example. Until you really understand the other person and where they're coming from and you understand yourself and how you contribute to things, you can never make that relationship better. And I think sometimes people don't understand how much these things are related.
Sometimes a game comes at just the right moment in your life. 'Flower' is beautiful, serene, and a bit of sunshine in a gloomy world. I remember going through a rough spot in my life and turning on 'Flower' for a little break in the day. You fly through luscious landscapes collecting petals and painting the world with life.
The first thing you do as a producer is you try to understand the director's vision in as deeply a way as you can. Sometimes, you end up with a director that has more vision or sometime they have less vision. You hope that they have more. In the case where they have more, you need to understand it in the deepest way you can.
I've always been a fan of vinyl. There's something about the ritual of it. Something about it holds its gravity, for some reason. Sometimes you'll put on music and the music fades into the background. But when you take that vinyl out and put it down, the music becomes the conversation as opposed to being the soundtrack to it.
I like working in television because it's an evolving story that you tell. That's also one of the things I don't like about it, too. Because sometimes it's hard, and just when I think I've nailed something, it changes or we have to change it or change the joke or the character is evolving in a way that I don't have control over.
The principal problem is that textual data and material remains are often incomplete and sometimes lack adequate context, in order to know precisely how they correlate. Sometimes all we can say is that the textual data and the material remains are probably related but how exactly can't be said until additional discoveries are made.
You do a film and you have hopes for it, and you read it, and you see it one way in your head, and you shoot it, and it'll always change from what you started out. Sometimes it turns out better, sometimes it turns out; I don't know, but as movies go I've never experienced seeing and likening what I've read, and I liked what I read.
I would like, in my life, to always be doing things I'm proud of. I know that probably won't happen all the time. But I'd prefer to be telling stories I can be proud of and understand why they're being told. I do watch a lot of films and TV, but sometimes I think: "Why the hell did you make that then?" I won't say what they are though.
Wardruna is a combination of old and new. I use historical instruments and new and electronic instruments and tools. I use drones and samples to build these huge sounds. Sometimes just a sound can trigger words or melodies. I don't have a romantic notion about the past; with Wardruna I wanted to create something new using something old.
Like a lot of us, sometimes I'm preaching to the choir, and sometimes my voice doesn't even get heard at all. Sometimes I think that what I'm writing now might not even have an impact for the next three or four generations. Sometimes I sit there and write, and I think, "It'll be two hundred years before they get what I'm writing about."
I see all mythology as one tradition, a way of disseminating knowledge that must come to us in code so that we can live sanely with it, since some forms of knowledge are too dark, or too complex, to be plainly spoken. And so we have these weird (and also sometimes entertaining and surprising and heartening) tales that belong to all of us.
It's a little cheeky; growing up in Santa Fe was kind of a weird experience, because it's such a touristy town. So sometimes it feels a little like you're in a town that's just on display. You walk around downtown and all the shops are galleries or high end boutiques, so it can feel like you don't belong there even though you are from there.
Sometimes I walk into a situation and I know somebody is going to provoke me - not maybe, I know he will provoke me - I know he will provoke me! And there are times when I simply refuse to be provoked. And the other times you have to use that superior knowledge to carry on at work without distraction, and don't allow yourself to be distracted.
I like films that don't have that unonimity of a response; that don't have consensus in the audience. What it is essentially for me is that if you go back and watch the film a second time, do you feel that you've been played fair with? Are all the clues in place? Indeed, sometimes these things are even overstated. Specifically, for that reason.
Love of learning will never let you down. You can have a quest for money, you can have a quest for power, you can have a quest for fame and they are sometimes gratifying and sometimes self-destructive. The love of learning is always gratifying and never self-destructive. The more educated, the more cultivated a society becomes, better off is everybody.
When I began to write novels, I wanted to keep that element of interaction with the reader that exists in poetry, not just for the reader to be shepherded from A to B to C to D but to participate, and the less you say sometimes, the better it is. You know, it's the way when someone speaks very quietly, you move forward so you can listen more carefully.
Performance is really an important part of how I edit. I sometimes take something out because I realize I put in a joke just to be funny and the audience laughed, but I should be ashamed of myself. I sometimes take out sentences, which are perfectly fine on paper, just because they don't flow when I say them out loud. I always read my work out loud now.
I began as a poet, moved to short fiction, then to novel writing, and, for the past twelve years, back to stories. I sometimes wonder if the pendulum will swing all the way back to where I began. As T.S. Eliot says, "In my end is my beginning," but for now I'm staying put, sitting tight, and loving the short story form way too much to leave it quite yet.
What I got was not so much gifts and whishes come trues but a feeling of peace. I got peace itself, actually. And when you have peace, you can be strong; and when you are strong, you can get through what you have to get through, and not with exhaustion and frown marks and slumped shoulders but with relative happiness, and humor, and sometimes even gaiety.
Comedy people are always present because they're always looking for the funniest version of whatever the line is. Sometimes theater people, where scripts are sacrosanct, aren't quite as present in scenes. That's a massive generalization, but in my experience, I find that comedy people are great to improvise with and to do scenes with because they're there.
You cannot be afraid to present yourself. And sometimes that takes practice. If you're not comfortable with public speaking - and nobody starts out comfortable, you have to learn how to be comfortable - practice. I cannot overstate the importance of practicing. Get some close friends or family members to help evaluate you, or somebody at work that you trust.
So near are the boundaries of panegyric and invective, that a worn-out sinner is sometimes found to make the best declaimer against sin. The same high-seasoned descriptions which in his unregenerate state served to inflame his appetites, in his new province of a moralist will serve him (a little turned) to expose the enormity of those appetites in other men.
Good writing is writing and rewriting and rewriting and rewriting. Sometimes, it happens to work right away, and that's amazing. But most of the time, it happens to work, and then you rewrite and rewrite and rewrite, and maybe it even comes back to the thing it was in the first place, but then you know for sure that it is good, and it's what you wanted to do.
When it comes to identity, that was an issue that plagued me for a lot of my life. It's something that I wanted to tap into. Film can really take you to other places, and sometimes that's necessary to understand your own identity or someone else's identity or just the issue of identity, in general. It takes you. It's borderless. It's boundless. It's universal.
For me, I wish I loved every script that I read. Sometimes I'm more picky and choosy than I really should be because you would get more jobs as an actor! But you don't know what it is. Sometimes you read something and it could be a big part or a small part. It could be one scene and I'll read it and say: "Wow, I really like that and I really want to do that.".
When I'm unable to see a mistake I made right away. Maybe this is my Taurus mentality, but sometimes I don't see it and I don't see it and then, before you know it, I finally see it, and I'm like, "How the hell did I not see that? It was right in front of me all this time." And I have to look at the wake I left behind, the disappointment. That makes me feel weak.
Sometimes the former forces are in the ascendance, and "democratic governance" is eroded, though anyone familiar with intellectual history would expect that the slogans will be passionately proclaimed as they are drained of substantive content. We happen to be living in such an era, but as often before, there is no reason to suppose that the process is irreversible.
I guess I've always wanted to create my own stories, but writing was one of those things where I thought that I would never actually do it. I respected writers too much, and what they do, to think that I was one of them - and I still feel that way a lot of the time. I still feel uncomfortable calling myself a writer. I'm like, "No, I'm an actor who writes sometimes."
At times, I've been so absolutely terrified of what I was about to do, whether it was public speaking or performance. Whatever it was, sometimes it had me really, really shaking in my shoes, and I decided that I was going to do it no matter what. And, of course, the critic is there, and afterwards, there's this, "Was it good enough? Was it really all I wanted to say?"
If you think of dramaturgy in North America, which is so realistic and so literal sometimes, sometimes what theaters - especially dramaturgs - ask for is more information, which sometimes can really weigh down a play. There's only so much information a play can have. If you start putting in so much information, it becomes something completely different, it doesn't sing.