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Now as to magic. It is surely absurd to hold me "weak" or otherwise because I choose to persist in a study which I decided deliberately four or five years ago to make, next to my poetry, the most important pursuit of my life...If I had not made magic my constant study I could not have written a single word of my Blake book, nor would The Countess Kathleen have ever come to exist. The mystical life is the center of all that I do and all that I think and all that I write.
I believe in God. Nobody made me believe; I don't think you can or should try to force someone to believe something. And even though my parents taught me stuff about God and read Bible stories to me from as early as I can remember... it was my choice to become a believer in Him. The way I see it, putting our faith in God is something that each person has to come to on his or her own. It's your own personal relationship with Him; a bond that's as unique as a fingerprint.
The effect of emotional venting is to sustain an unsatisfactory status quo. Most people think the opposite, that complaining is part of an effort to change an unsatisfying situation. Nope. Complaining lets off pressure so that we neither explode with frustration nor feel compelled to take the often risky steps of openly opposing a difficult person or situation. Keeping emotional pressure tolerably low doesn't change problematic circumstances but rather perpetuates them.
I think that I would really like at first for the art to speak for itself. I don't see the need for a lot of personal information about my past or who I am. I would rather the personal side of it just be in the concepts and the genuine feelings that I filter through my work. I know that it's inevitable that people can find whatever they want about me. Once I've had a chance to create a language and a world with my art, then I'm more comfortable sharing that information.
Since I learned the secret and started applying it to my life, my life has truly become magical. I think the kind of life that everybody dreams of is one I live on a day to day basis. I live in a four-and-a-half-million-dollar mansion. I have a wife to die for. I get to vacation in all the fabulous spots of the world. I've climbed mountains. I've explored. I've been on safaris. And all of this happened and continues to happen, because of knowing how to apply The Secret.
I don't think it's illegal. I don't think it's against the rules. It's as dangerous for me to have a toothpick in your mouth as it is to have a 200-pound man punch me in the face hard or try to kick me in the face. I'm more worried about that, to be honest. I don't have any superstitions. I won world titles with a toothpick. I defended it without a toothpick. It all depends. Sometimes I do it, sometimes I don't. It's a bad habit. I know I shouldn't do it, but it's fine.
We have not always been in sync on every issue in terms of our core values, in terms of her integrity, her truthfulness, her thoughtfulness, [Angela Merkel] doing her homework, knowing her facts, her commitment to looking out for the interests of the German people first, but recognizing that part of good leadership on behalf of the nation requires engaging the world as a whole, and participating effectively in multilaterally institutions, I think she's been outstanding.
I like good ideas. I don't want just do something for it's own sake to bother people, but if I can bother them with a logical argument about something they have agreed to in society simplistically - like children are sacred, the cult of the child, this cult of professional parenthood, and of course religion, and respect for policemen and the law, and all of these untouchable areas. I like attacking those beliefs, but in with good sound thinking, and an unusual approach.
Throughout my career, I had a lot of mentors, and I just adopted them. What I found is that, especially if you're young, when you go up to people and say, 'Would you mind being my mentor?,' their eyes widen. They literally step back. What they're thinking about is the commitment and time involved if they say yes. And time is something they don't have. So I would not ask them to be my mentor, but I would just start treating them like it. And that worked very well for me.
Image and music always works together for me. I think they're equally important and I've always done things in a way that people remember them by, but I don't set out to just shock people...because that's very easy, a lot of people could do that, I just like to do things the way that makes me happy really. And sometimes that's too much for certain people, but, you know, I try to push the envelope to make the boundaries wider as far as what you can and can't do in music.
Tom’s aunt Georgie spoke to me first, and Tom found me through her. At the time, I didn’t actually think Tom was a big enough character to carry a story. If it had to be anyone from Saving Francesca, I thought, it would be Will Trombal or Tara. But the line in Francesca, ‘I want to be the first male in the Mackee family to reach 40 and still have a liver’ stuck with me, and in the end, Tom has been one of the biggest surprises. I’m glad I didn’t kick him out of my head.
Music feels like therapy, actually. A lot of people come out of a therapy session and feel like a weight has been lifted - I got it out, I cried, I feel good. I think for me this is just my way of doing that. It's the only avenue I have that fulfills that, that makes me feel good about myself. And I don't mean that in regards to the rewards, or like getting some good review. That's not what it's about. It's more about trying to please myself. It's really sick and weird.
I think that's what's - one of the things that is alarming to me is [Donald] Trump, and I think Trump supporters seem to believe, he won, huge upset, full credit to him, and has got the wind at his back. And Republicans on The Hill do want him to succeed, obviously, and they're deferring to him more than they deep down in private sort of wish - want to, but they are going to defer to him publicly for awhile. But I think that is going to run out faster than people think.
If you think too much about nudity, it can be anxiety-provoking because it lives on the internet forever. I've only taken my clothes off on that one other show, and yet, if you were to Google Image me, it would seem like I do this all the time. As an actress - and as an actor, too, but it's worse for actresses - you constantly get picked apart for how you look. Obviously, being picked apart with your clothes on is slightly less terrifying than when your clothes are off.
Make sure to immediately write down any impressions you receive. Intuitive impressions are often subtle and therefore 'evaporate' very quickly, so make sure to capture them in writing as soon as possible. Recent research in neuroscience indicates that an intuitive insight - or any new idea - not captured within 37 seconds is likely never to be recalled again. In 7 minutes, it's gone forever. As my buddy Mark Victor Hansen likes to say, 'As soon as you think it, ink it!'
Honestly, I was just happy to get the work. I was chuffed to bits. I know David Furnish and Elton John a bit and I remember David talking very excitedly about it. This was going back four or five years even, when we were doing Little Britain at the Hammersmith Apollo. I'd lost my voice that night, but still did the show. I remember thinking: "God, they're going to think that's my voice and I'm not going to get in the film!" But it's just been a pleasure to be a part of.
We can accomplish almost anything within our ability if we but think we can! Every great achievement in this world was first carefully thought out. Think-but to a purpose. Think constructively. Think as you read. Think as you listen. Think as you travel and your eyes reveal new situations. Think as you work daily at your desk, or in the field, or while strolling. Think to rise and improve your place in life. There can be no advancement or success without serious thought
It may be a mere patriotic bias, though I do not think so, but it seems to me that the English aristocracy is not only the type, but is the crown and flower of all actual aristocracies; it has all the oligarchical virtues as well as all the defects. It is casual, it is kind, it is courageous in obvious matters; but it has one great merit that overlaps even these. The great and very obvious merit of the English aristocracy is that nobody could possibly take it seriously.
The title's so upfront. It gives fair warning about the play's content. I'm writing about a kind of disenchantment, an anger, but quite a cool 90's anger, at a time when we're not very good at openly being angry. . . . I don't think I ever thought the title was titillating. I thought it was incredibly catchy. If the play is about the reduction in human relations down to a consumerist rationale, then thematically, the title is entirely linked into the thesis of the play.
The Big Bang has gone away, but as far as Super String, that is suspicious for me. It all starts out with the notion of Big Bang, which if it were true, starts out with incredibly high temperatures. So they think [we] need to get these high temperatures for this broken symmetry; all this broken symmetry reunited, and we do not have enough energy in the whole galaxy to get to those temperatures, to prove their point. To me, that is the single flaw in Super String theory.
Playing those one-dimensional characters is actually really difficult because you're not dealing with somebody you would ever really know. I don't think anybody here could imagine actually knowing Cindy Campbell from 'Scary Movies.' So, in a way, your job is so much easier when you're playing a person that you really understand and that seems very relatable. I think I was coming to a place in my career where I was like, "I'd like to do something a little more rewarding."
One of the things that is always difficult about a collaboration is that you don't necessarily find the same thing funny. And so the challenge becomes, how do you tell the other person that you don't think something's funny? The best collaborations tend to be when you are willing to be told that. But there's also ego involved, and so there's a lot of frustration in knowing that you're writing something, and the other person, on some level, needs to think that it's funny.
An educator should think of a child as a gardener thinks of a plant, as something to be made to grow by having the right soil and the right amount of water. If your roses fail to bloom, it does not occur to you to whip them, but you try to find out what has been amiss in your treatment of them. ... The important thing is what the children do, and not what they do not do. And what they do, if it is to have value, must be a spontaneous expression of their own vital energy.
On the flip side, I've also had to struggle with saying "yes." Before I did this research and before I had my own breakdown and spiritual awakening around this work, my motto was, "Don't do anything that you're already not great at doing." Which I think is the way the majority of adults in our culture live. Authenticity is also about the courage and the vulnerability to say, "Yeah, I'll try it. I feel pretty uncomfortable and I feel a little vulnerable, but I'll try it!"
I love the theatre and I love working in the theatre but I'm a big cinefile and I love the movies. I also do scribble but to limited success! I think I find being in a room on my own quite hard, which I think a lot of actors do because what we do is so inter-active. It's a very supportive profession... despite its reputation for being highly competitive it's actually one of the most collaborative professions you can do in the arts because you're always working in a team.
I wanted to be an industrial designer, so I went to business school for that, and I then went on to marketing at Interpublic Group of Companies, which was one of the first organizations to actually think about brand marketing. I worked on Coca Cola's account, and then I was recruited by Pepsi, and I ended up being Pepsi's first MBA. I was called the High Wire Act because I was in my 20s and I was given jobs of increasing responsibility that I was totally unqualified for.
You can't expect everyone to laugh or applaud you for doing edgy things. Sometimes you'll miss. But I think comedians are artists and there's a value in failure. It kind of works both ways between comedians and audiences. The audience has to understand that comedians are going to sometimes tell a joke that doesn't work out with dark subjects, and the comedian has to understand that sometimes they 'll fail and it's not the audience's fault for not getting it or loving it.
The time must come inevitably when mankind shall surmount the imbecility of religion, as it has surmounted the imbecility of religion's ally, magic. It is impossible to imagine this world being really civilized so long as so much nonsense survives. In even its highest forms religion embraces concepts that run counter to all common sense. It can be defended only by making assumptions and adopting rules of logic that are never heard of in any other field of human thinking.
I think that deprecation part is a very important aspect because when someone looks into themselves, if they're going to be honest, they're going to see parts that are humiliating as well as parts that they might feel really great about. Take Lucas Samaras again, who made a lot of self-portraits. He makes one self-portrait where he is looking directly into the camera and looks so intense and cool. He says in an interview, "I wanted to present the best version of myself."
Scholars have endlessly written about antebellum Protestant thinking about slavery. Now, finally, Friends of the Unrighteous Mammon turns a spotlight on a new, crucial question: how did antebellum Protestants parse capitalism? For anyone who seeks to understand the political economy of the antebellum era-or, indeed, the complex entanglement of Christianity and capitalism today-this book is critical. I, for one, am very grateful to Stewart Davenport for having written it.
I don't think I've seen that sort of character in a long time in this genre because again, there was a time when you could have quirky, strange characters that you grew to love, you didn't quite understand, you know, and then all of a sudden they became almost cardboard cutouts for awhile. You kind of know the guy, what his deal is - this guy's hard to figure out. He has some strange habits, but, you learn to love him and you discover more about him, where it comes from.
Different reactions while film test screening doesn't mean even the audience thinks ambiguity is a bad thing. But if you're asking them right away to start checking things off, they don't know what to do. I think at their best, it applies to when the audience knows what it is. Then, when they say, "Oh, well, I thought it was too boring in blah-blah-blah part," then you better pay attention to it. It's like going for the hamburger. Better be the good hamburger I went for.
I did play a dentist in Waiting for Guffman. I wrote the speech at the conference. In the original script, when it got to that scene, it was, 'Thank you very much. Good night.' Literally. I just thought, 'He keeps talking about this speech. The keynote address is the big thing in his life and this is too important to say, "Thank you. Good night." I think we have to see and hear him doing what he does.' So I got together with my dentist and we worked through a few things.
For people who make inventions, whether they make scientific inventions or artistic inventions, they're driven by pretty much the same thing. It's some mistrust from somebody saying it couldn't be a certain way, and overthrowing that. But that can happen at any point in history, at any time you come along. It doesn't get better or worse because you're born in this era or that era - I think it's more individualistic. It comes from within, you know, it's an internal thing.
The Berkshire-style investors tend to be less diversified than other people. The academics have done a terrible disservice to intelligent investors by glorifying the idea of diversification. Because I just think the whole concept is literally almost insane. It emphasizes feeling good about not having your investment results depart very much from average investment results. But why would you get on the bandwagon like that if somebody didn't make you with a whip and a gun?
If the subjectivist view hold true, thinking cannot be of any help in determining the desirability of any goal in itself. The acceptability of ideals, the criteria for our actions and beliefs, the leading principles of ethics and politics, all our ultimate decisions are made to depend upon factors other than reason. They are supposed to be matters of choice and predilection, and it has become meaningless to speak of truth in making practical, moral or esthetic decisions.
Kids know they can't make it alone, yet at the same time, built into each one of us, is a survival ethic. It says, "Nobody cares and you have to look out for yourself and if you don't, you'll die." These two things work against each other. I think most kids are very frightened of their parents, and that's what all fairy tales reflect: Parents will fail you and you'll be left on your own. But, of course, everything comes out right in the end and the parents take you back.
Hamilton had a complaint. "Why did you have to tell the cops I'm your boyfriend? That's gross, Amy. We're related!" Amy was disgusted. "We had a common ancestor, like, five hundred years ago. Besides, if they think we're together, we only have to come up with one story, and I can do all the talking." "Hey, I got an early acceptance to Notre Dame," Hamilton said defensively. "I can talk." "Of course you can," Amy soothed. "It's what you say that might get us into trouble.
I just want to make a lot of good music that entertains people and makes people think, and maybe inspires other people to make music. That's it, man. I don't really know about a legacy. Honestly, I wouldn't mind making some money. I wouldn't mind being able to buy a house and have a comfortable life. I'm not trying to chase superstardom and millions and millions of dollars. I would like to have enough return on what I do to allow me to continue doing it more comfortably.
For me, I think it's such an important thing to hear other people's stories, because you do find ways that either you can learn something from them, or you can identify with something that they've gone through. You realize that maybe what you're going through in life isn't just specific to you, that somebody else understands it, or you talk to someone and all of sudden you see something in a completely different way because of what they've said to you or shared with you.
Jazz is really about the human experience. It’s about the ability of human beings to take the worst of circumstances and struggles and turn it into something creative and constructive. That’s something that’s built into the fiber of every human being. And I think that’s why people can respond to it. They feel the freedom in it. And the attributes of jazz are also admirable. It’s about dialogue. It’s about sharing. And teamwork. It’s in the moment, and it's nonjudgmental.
I think one possibility [in the future] might be chemotherapy. And I'm always hesitant to say that because it makes it sound like I'm against chemotherapy. Right now, chemotherapy is the best cancer treatment therapy we have. But let's say we find some way where we can almost genetically engineer the DNA of our being and fight cancer that way. Then, the idea that we used to pump poison into people to fight off cancer will almost seem like the use of leeches or something.
I think of the love of God as a great river, pouring through us even as the waters pour through our ravine at floodtime. Nothing can keep this love from pouring through us, except of course our own blocking of the river. Do you sometimes feel that you have got to the end of your love for someone who refuses and repulses you? Such a thought is folly, for one cannot come to the end of what one has not got. We have no store of love at all. We are not jugs, we are riverbeds.
Antonin Scalia was saying, and Donald Trump knows this as well, the answer to it is not to punish people, to shut 'em up, to put 'em in jail. The answer is more speech. If there's some clown burning the flag, drape yourself in the flag and go run around right in the guy's face and start telling him how much you love America. Donald Trump's not gonna put anybody in jail. He's not gonna strip their citizenship. This is how Donald Trump tells people what he thinks about it.
I think subjectivity plays into everything. It's unavoidable; you couldn't avoid it if you tried. I think, potentially, a lot more commercial movies, it seems to be that the people making the films are trying to elicit the same reaction. I think a lot of the most interesting work in art and in films are often kind of polarized opinions and affect people in very different ways, which may be less successful commercially, but they elicit a dialogue that's quite interesting.
I remember we [with Donald Trump] were sitting in a meeting and he walked in and he looked at me and he said - maybe five or six of us in there - and he said, "Are you the first woman to ever run a presidential campaign?" And so the guys in the room said, "First Republican woman." And I said - you know, I always think of Susan Estrich and Mary Kay and Donna Brazile, and respect them enormously; know one of them very well. And I said, "Well, I'm the first Republican one."
Psychology should be the chief basic science upon which the practices of education depend. It should have supplied education with the information it needs concerning the processes of understanding, learning, and thinking, among other things. One of the difficulties has been that such theory as has been developed has been based primarily upon studies of behavior of rats and pigeons. As someone has said, some of the theory thus developed has been an insult even to the rat.
These days I don't look to other people with the objective of trying to steal their licks, although I've got no objections to stealing them if that seems like a good idea. I'm sure that I'm still influenced by Mark Knopfler and Eddie Van Halen as well......I can't play like Eddie Van Halen. I wish I could. I sat down to try some of those ideas and can't do it. I don't know if I could ever get any of that stuff together. Sometimes I think I should work at the guitar more.
I do not think I exaggerate the importance or the charms of pedestrianism, or our need as a people to cultivate the art. I think it would tend to soften the national manners, to teach us the meaning of leisure, to acquaint us with the charms of the open air, to strengthen and foster the tie between the race and the land. No one else looks out upon the world so kindly and charitably as the pedestrian; no one else gives and takes so much from the country he passes through.
With regard to power, women don't have the vanity men have. They don't need to make power visible, they only want the power to give them the other things they want. Security. Food. Enjoyment. Revenge. Peace. They are rational, power-seeking planners, who think beyond the battle, beyond the victory celebrations. And because they have an inborn capacity to see weakness in their victims, they know instinctively when and how to strike. And when to stop. You can't learn that.