Quotes of All Topics . Occasions . Authors
Then why was his tongue in your mouth? Was he conducting a clinical test of your gag reflex?" He smiled, but not nicely. "How is your gag reflex, Ms. Lane? Are you a hair trigger?" Barrons likes to use sexual innuendo to try to shut me up. I think he expects the well-raised southern belle in me will think eew and back off. Sometimes, I do think eew, but I don't back off. "I'm a spitter, if that's what you're asking." I flashed him a too-sweet smile. "Didn't look that way to me. I think you're a swallower. His tongue was halfway to China and you were still taking it." "Jealous?
I think people fail to realize that teams and organizations have been stacking teams since way back in the day. The Lakers had the Showtime era. Boston had six hall of famers on one team. You had Detroit, the New York Knicks, and now the Miami Heat. They were stacking their teams back then, it just fell off over the years and now it picked back up. Boston did it first, then LA. I was fortunate enough to play against them when they had Shaq, Kobe, Rick Fox, Gary Payton, Karl Malone... that's five hall of famers on one team! So you can't get mad at Miami for doing what they did.
The quality of health care in Germany is not as good as people sometimes believe it to be. We have problems with chronic diseases. The German system allows too many hospitals and specialists to treat chronic diseases. We do not have enough volume in many institutions to deliver good quality, and we do have fairly strict separations ... between primary physicians, office specialists and hospital specialists. But I think the quality problems can be solved in the next couple of years, and we have made major progress in diabetes, coronary artery disease and pulmonary disease care.
When death comes…. I want to step through the door full of curiosity, wondering: what it’s going to be like, that cottage of darkness? And therefore I look upon everything as a brotherhood and a sisterhood, and I look upon time as no more than an idea, and I consider eternity as another possibility, and I think of each life as a flower, as common as a field daisy, and as singular, and each name a comfortable music in the mouth, tending, as all music does, toward silence, and each body as a lion of courage, and something precious to the earth. [from the poem "When Death Comes"]
When critics or people judge, I think it's harder to make a commercial, pop movie than it is to make a pretentious art film. It's harder to reach millions of people and satisfy them and make them happy. These films kind of get ghettoized, this genre because there are so many big, big movies that are such big hits, but aren't any good. The audiences, they're not judging the style of the director, or the execution of the film. They're just looking to be entertained. They want to escape from their reality, and that's why we make movies, to get people to escape from the realities.
I think that poets can say, "What we want is for everybody on earth to wake up free from fear and with access to medicine and clean water and education." But I don't think poets have any special insight on how to get there. And the 20th century is a pretty good record of that because so many of the great poets were Stalinists: Vallejo, Neruda, Eluard, Aragon, etc. They wrote their odes to Lenin and Stalin. They glorified some of the most violent and grotesque dictatorships of the 20th century. And a lot of the ones who were not Stalinists were fascists or fascist sympathizers.
Black people in the US are told all the time, from all aspects, that they're nothing, that they're less than. And of course that bears fruit, but no one wants to shoulder part of the blame. A lot of people here can't see around their own family's history. They don't want to see that where they come from and the people they surround themselves with might have played a role in all this. This is all part of our national myth about the individual. We think that a lack of success comes from the individual not working hard enough. A lot of people in this country really believe that.
Some people think I am an issue-oriented writer, but I've never said to myself, I'm gong to write about such-and-such an issue - that would make for incredibly boring writing, at least to my taste. Creating someone I don't know and her made-up world shows us more about who we are - is actually a better mirror - than if I were to parade in front of you an instantly recognizable person in an instantly recognizable situation. I'm not saying, Let's make it all abstract and weird and difficult and thereby you will know more about yourself. My process is much more organic than that.
We need prizes as publishers... to focus attention on books, for people to know what to go look for. But often in my opinion and in probably everyone's opinion, the right books don't get chosen. Still we need books to be chosen even if they are not exactly the right ones, otherwise many people won't know what to read. As a publisher, I feel prizes are important for the publishing business. But as a writer, I think, writers shouldn't get too distracted by prizes because very often they don't go to the right person. You shouldn't take it too seriously if you haven't won a prize.
If an opinion contrary to your own makes you angry, that is a sign that you are subsciously aware of having no good reason for thinking as you do. [...] The most savage controversies are those about matters as to which there is no good evidence either way. Persecution is used in theology, not in arithmetic, because in arithmetic there is knowledge, but in theology there is only opinion. So whenever you find yourself getting angry about a difference of opinion, be on your guard; you will probably find, on examination, that your belief is going beyond what the evidence warrants.
I was going to say 'my friend Stuart', but I suppose he's not a friend any more. I seem to have lost a number of friends in the last few years. I don't mean that I've fallen out with them, in any dramatic way. We've just decided not to stay in touch. And that's what it's been: a decision, a conscious decision, because it's not difficult to stay in touch with people nowadays, there are so many different ways of doing it. But as you get older, I think that some friendships start to feel increasingly redundant. You just find yourself asking, "What's the point?" And then you stop.
I think the power of the short film is incredibly underrated. It is way easier to get someone to watch a 15-minute film then a full-length feature. In those 15 minutes you have the opportunity to express your voice as an artist and hopefully connect with your audience. If you are trying to be a first time feature director then a short film that demonstrates you have a grasp on the themes and concepts of the movie you want to direct is a no-brainer. Whether they are collaborators or potential investors, filmmaking is a visual art form so you obviously need visuals to show them!
I start from the supposition that the world is topsyturvy, that things are all wrong, that the wrong people are in jail and the wrong people are out of jail, that the wrong people are in power and the wrong people are out of power, that the wealth is distributed in this country and the world in such a way as not simply to require small reform but to require a drastic reallocation of wealth. I start from the supposition that we don't have to say too much about this because all we have to do is think about the state of the world today and realize that things are all upside down.
Prayer is not a way to get what we want to happen, like the remote control that comes with the television set. I think that prayer may be less about asking for the things we are attached to than it is about relinquishing our attachments in some way. It can take us beyond fear, which is an attachment, and beyond hope, which is another form of attachment. It can help us remember the nature of the world and the nature of life, not on an intellectual level but in a deep and experiential way. When we pray, we don't change the world, we change ourselves. We change our consciousness.
When you're young, your perception of what it means to be a writer is often less about the writing and more about what seems to be the accompanying life: speeches and travel and hanging out with other writers. You think that when you get published, your life will clarify itself to you somehow. But when you don't get published until you're middle-aged you know who you are already, and your life expands to make room for your writing, rather than orbiting around it. You realize that there's no one way to be a writer, and that the job is less of an identity and more of a vocation.
Few knew in 2000 that George W. Bush was going to end up with neoconservatives all over the place. Once 9/11 happened, I think it's fair to say that some neocons have had an enormous influence. The whole solution to every problem was to go after Iraq. This had been a neoconservative mantra for ten years. Bush certainly sees himself as having been given an endorsement. He was asked why Donald Rumsfeld,Condoleezza Rice, and Paul Wolfowitz have been promoted, these people who led us into the debacle in Iraq. Bush said there was accountability-it was the election. So there we are.
As thinkers, mankind has ever divided into two sects, Materialists and Idealists; the first class founding on experience, the second on consciousness; the first class beginning to think from the data of the senses, the second class perceive that the senses are not final and say, The senses give us representations of things, but what are the things themselves, they cannot tell. The materialist insists on facts, on history, on the force of circumstances and the animal wants of man; the idealists on the power of Thought and Will, on inspiration, on miracle, on individual culture.
In fiction the narrator is a performance of voice, and it can be any style of voice, but I'm interested in the ways that a voice that knows it's telling a story is actually telling a different story than it intends to. In the way that I can sit here and tell you what I had for breakfast, but I'm really telling you that I'm having an affair, something like that. And I don't think my writing is plain, but I think a lot of my characters are just talking. There is vulnerability there, in that we can start to see through them, we can start to see where they're deceiving themselves.
When our thoughts revolve we are so often deceived into supposing that their violent movement is an indication of their vigorous originality, the upheaval of prejudice and fixed ideas, when all the time it is more likely that the machine which contains them is only an elaborate cement-mixer, and when the thinking is finished, those whirling thoughts are smoothed into the unchanged conventional mould and seeing them set solid enough to dance, to build, to travel upon, we would never dream of their first deceit, of the hope once roused by their apparently violent reorganisation.
You really get caught up in this system of the world - the Instagram world, society - we really get caught up in what our friends want and what our jobs want. I think the priority in life is to feel secure and safe and solid, truly. Just feeling good, just being okay with sitting alone. I think that's a big thing people need to realize and get used to that it's okay to be alone. It's good to be alone, and you need to be able to sit by yourself and just be peaceful and silent, and learn to read a book again; learn to just be. It's hard to be when you are so used to static input.
Setting a field for synchronicity is a matter of putting yourself in a particular state of mind. It is easy to think about synchronicity intellectually, but unless you enter the state of mind where your prayer-field will help, all you will do is glimpse the coincidences every once in a while. In some situations that is enough and you will be led forward for a time, but eventually you will lose your direction. The only way to establish a constant flow of synchronicity is to stay in a state where your prayer field keeps this flow moving toward you--a state of conscious alertness.
I don't think losing things - in my case, the use of my legs - really damages or hurts you. What hurts people a lot is taking humiliation. A lot of the wars going on right now in the Middle East aren't about poverty and exploitation. They're about humiliation. For a long time, the British and French have been humiliating the people of the Middle East, and encouraging people like Israel to do the same. Israel started out as a socialist state, but we always encouraged them to become rather racist and look down on the local inhabitants, which they now do. It's sad that's happened.
I think it's more likely that we can make positive changes happen on environment and military issues if states begin to secede. I don't think it's question of personal lifestyle preference or some sort of parochial identification with your state. I think it's an absolute moral demand that something be done to create a government with some power that can be controlled by the residents of its territory. That was supposedly the idea in creating the United States, but it doesn't exist now and we have to make it exist even if it's piece by piece, part of the United States at a time.
[Alan Berg's] memory haunts many people, even those who never heard him on the radio, because his death could be read as a message: Be cautious, be prudent, be bland, never push anybody, never say what you really think, offer yourself as a hostage to the weirdos even before they make the first move. These days, a lot of people are opposed to the newfound popularity of 'trash television,' and no doubt they are right, and the hosts of these shows are shameless controversy-mongers. But at least they are not intimidated. Of what use is freedom of speech to those who fear to offend?
We must allow ourselves to think, we must dare to think, even though we fail. It is in the nature of things that we always fail, because we suddenly find it impossible to order our thoughts, because the process of thinking requires us to consider every thought there is, every possible thought. Fundamentally we have always failed, like all the others, whoever they were, even the greatest minds. At some point, they suddenly failed and their system collapsed, as is proved by their writings, which we admire because they venture farthest into failure. To think is to fail, I thought.
I don't know if anyone's ever told you this", he begins. He doesn't blush, and his eyes don't dart away. Instead I find myself starring into a pair of oceans - one perfect, the other blemished by that tiny ripple. "You're very attractive." I've been complimented on my appearance before. But never in his tone of voice. Of all the things he's said, I don't know why this catches me off guard. But it startles me so much that without thinking I blurt out, "I could say the same about you." I pause. "In case you didn't know." A slow grin spreads across his face. "Oh, trust me. I know.
Will this massive outcry [about pollution] continue long enough to have effective results? Will federal and state laws be enacted with effective enforcement clauses? Will people be concerned long enough to pay the bill through higher prices? Will towns tole lost jobs when it proves too costly to clean obsolete plants?... I think so, but it sure won't be as easy as the present outcry and political oratory suggest. The answers to preserving a livable environment are not all simple, and some of the nuts now pushing simplistic cure-alls won't help bring about any lasting solutions.
As a Catholic, you can have two views on capital punishment. You can think, let Caesar do what Caesar needs to do, and the law says you can impose capital punishment, so you impose it. You can [also] be a Catholic who says we can't kill, we can't kill babies and we can't kill adults. If you let a decision be driven by your personal views, then you are not doing what a judge needs to do, which is enforce the laws of the society that you are in. But you can control your own behavior, and that is the choice that the church and God gives us - what kind of people are we going to be.
I don't think I have enough of an interest in today's cultural mood to connect with or reject it. I'm compelled by the ideas that arrive when I'm not trying, and I follow them through almost every time. I feel fortunate that these days, there are a lot of them. You could argue that they are informed by everything I'm experiencing culturally around me but I don't, for example, look online for new music or art very often, and I don't think there is much in contemporary culture for me. It's a needle in a haystack kind of thing, and I'd rather spend that time working on a new song.
I imagine John Watson thinks love’s a mystery to me, but the chemistry is incredibly simple and very destructive. When we first met, you told me that a disguise is always a self portrait, how true of you, the combination to your safe – your measurements. But this is far more intimate. This is your heart, and you should never let it rule your head. You could have chosen any random number and walked out of here today with everything you worked for. But you just couldn’t resist it, could you? I’ve always assumed that love is a dangerous disadvantage. Thank you for the final proof.
Just imagine the banner headlines if a marine biologist were to discover a species of dolphin that wove large, intricately meshed fishing nets, twenty dolphin-lengths in diameter! Yet we take a spider web for granted, as a nuisance in the house rather than as one of the wonders of the world. And think of the furore if Jane Goodall returned from Gombe stream with photographs of wild chimpanzees building their own houses, well roofed and insulated, of painstakingly selected stones neatly bonded and mortared! Yet caddis larvae, who do precisely that, command only passing interest.
...what's always exciting is when you hear something amazing when you least expected it. Every now and then I'll hear something for the first time that forces me to re-examine my frames of reference, and re-consider musical parameters in general, and that's wonderful . And what's even more wonderful in a way, is when you hear something that you know, and already think you have an opinion about, and then suddenly discover that it isn't what you thought it was, but something quite different, which makes it just as surprising as if you'd never heard it before. That's REALLY great!
Anything that really frightens you may contain a clue to enlightenment. It may indicate to you how deeply you are attached to structure, whether mental, physical, or social. Attachment and resistance are appearances with the same root: when you resist by pulling away your awareness, the emotion is one of fear, and the contraction is experienced as a pull like magnetism or gravity; that is, attachment. That is why we often fear to open our minds to more exalted spiritual beings. We think fear is a signal to withdraw, when in fact it is a sign we are already withdrawing too much.
I try to just put a blank stage in front of them, and say, "This is your space; you tell me where you're coming from and where you're going." At a certain point, it was interesting as the project started to become what it is now, The Source, which has a physical installation and also an online presence. As we started building the installation, I started thinking, "It's really strange that we're building this installation, this piece of architecture you can go into." It's almost strange because I suppose it's an artwork, but it's an artwork that's really constructed out of ideas.
In the central cases of physical pain, then, it appears that at least part of what is bad about our condition is the way it makes us feel. Here there seem to be no problems with a purely mental state account, no counterpart to the experience machine that could bring us to think that we are being deceived by mere appearances. [...] If I am suffering physical pain then I can be quite wrong about the organic cause of my affliction, or even about whether it has one, without that error diminishing in the slightest either the reality of my pain or its impact on the quality of my life.
The fact that Edward Snowden didn't approach the New York Times hurt a lot. It meant two things. Morally, it meant that somebody with a big story to tell didn't think we were the place to go, and that's painful. And then it also meant that we got beaten on what was arguably the biggest national security story in many, many years. Not only beaten by the Guardian, because he went to the Guardian, but beaten by the Post, because he went to a writer from the Post. We tried to catch up and did some really good stories that I feel good about. But it was really, really, really painful.
It's different now but I enjoy it more than I did then. I think I appreciate it more now and I love playing acoustically. This is the way I started. Herb and I met each other forty years ago when we were both eighteen years old, playing bluegrass, and that's what drew me into music, and I enjoyed every particular part of my career. But now I enjoy it because it's the twilight of my career, where I can play what I want and I can play when I want and where I want. And that's the greatest part it all. So it's sort of a right that I've earned. I can record records the way I want to.
My job is to communicate to the American people that the Muslim world is filled with extraordinary people who simply want to live their lives and see their children live better lives. My job to the Muslim world is to communicate that the Americans are not your enemy. We sometimes make mistakes. But if you look at the track record America was not born as a colonial power, and that the same respect and partnership that America had with the Muslim world as recently as 20 or 30 years ago, there's no reason why we can't restore that. And that I think is going to be an important task.
I think people like difference. When you walk out the door in New York City, in a mixed-use neighborhood like the Village, you see exciting things! "Oh, this store is closing, that store is opening." And especially if it's not a chain store, then it is interesting because it is unique in some way. The small-scale familiar is also very comforting. Especially in the twenty-first century, when the world is rapidly changing and there are many risky situations, I think we need to build on and protect the comfort that we have in our neighborhoods in a way that does not exclude others.
I think my first impression (of Bix Beiderbecke) was the lasting one. I remember very clearly thinking, 'Where, what planet, did this guy come from? Is he from outer space?' I'd never heard anything like the way he played-not in Chicago, no place. The tone-he had this wonderful, ringing cornet tone. He could have played in a symphony orchestra with that tone. But also the intervals he played, the figures-whatever the hell he did. There was a refinement about his playing. You know, in those days I played a little trumpet, and I could play all the solos from his records, by heart.
The strange thing about the apocalypse is that it's uneven. For some people, it goes one way and for others another way, so that there's always this shifting relation to the narrative of the disaster. Sometimes apocalypses are just structural fictions, and sometimes they're real. Sometimes a narrative requires an end - the fact that the beginning was always leading somewhere becomes clear at the end. There's an idea that we're always in the middle, but we posit this apocalyptic end in order to also be able to project into the past or the beginning. I think that's true and false.
Thought cannot avoid the ethical or reverence and love for all life. It will abandon the old confined systems of ethics and be forced to recognize the ethics that knows no bounds. But on the other hand, those who believe in love for all creation must realize clearly the difficulties involved in the problem of a boundless ethic and must be resolved not to veil from humankind the conflicts which this ethic will involve us, but allow us really to experience them. To think out in every implication the ethic of love for all creation this is the difficult task which confronts our age.
When philosophers talk about reason they often have in mind Having been in the business of philosophy more than half my life, I have learned that reason doesn't change many minds. But there's a more ordinary sense of resonableness, which involves not just logic but a sensitivity to other peoples real concerns, a desire to understand, even when you don't agree. Many people are reasonable in this way.I'm willing to think that the world will be made better by the conversations of reasonable people, even if there are unreasonable people and people who don't want to converse as well.
Having someone in your class call you fat, ugly, too tall and so on, you start to think all those things about yourself. And if you're like me, those words are played on repeat inside your head. When I was at home, I felt loved and safe. My sisters were always a safe haven for me. I knew they would always play with me and make me feel like I was one of them. Now we have so many more social outlets, there are so many ways to be stalked and bullied. If social media is too much for you to handle then don't have a Twitter or Facebook account, just be yourself. Be who you want to be.
I think there are so many young girls out there who may be discouraged by the images they see in magazines or on TV, because it's such a media-driven culture. But people will be a lot more accepting of themselves when they feel included. Through my website, I'm in touch with a 13-year-old girl from Brazil; like me, she was born with a piece of her arm missing. She thanked me for the work I'm doing and said I give her strength, inspiration and confidence. Showing a young girl like that how you can be happy and have feelings of confidence is one of my biggest achievements to date.
Yoga says instinct is a trace of an old experience that has been repeated many times and the impressions have sunk down to the bottom of the mental lake. Although they go down, they aren’t completely erased. Don’t think you ever forget anything. All experiences are stored in the chittam; and, when the proper atmosphere is created, they come to the surface again. When we do something several times it forms a habit. Continue with that habit for a long time, and it becomes your character. Continue with that character and eventually, perhaps in another life, it comes up as instinct.
A good collaboration I think it's really, truly a vibe thing. The people who are most excited about collaborations are people in the business, people who are thinking, "This is going to be great press," or, "This is going to expose you to all these people you haven't reached before." I prefer not to think like that. I'm more, if you meet the person, you like the person, you've talked to them, you feel connected, you feel like there's a creative exchange, then it kind of happens by itself. I'm open to it, but it has to feel right. If it feels forced, then I'm fearful of doing it.
I think the important thing about staying creative and staying sharp and original is not to look back too much, and to kind of look to where your vision is going now. But I have felt over the years a definite progression or arc from feeling guilty about what I had done with the first one, because certainly there was all that fundamentalist guilt that came pouring back in. Feeling like I'd done something horrible, "I'm a despicable person and I'm perverse," and all these things, to a sense of the power and the necessity, in a sense, of horror films and dealing with dark material.
The personal boundaries, I think for comedians they're a little bit different anyway, but I think people - feel free to do stuff - It's interesting with comedians because when we walk on stage, oftentimes we're talking about ourselves for an hour and we're talking about very intimate details, so after hearing us for an hour, a lot of people feel very comfortable with us because they feel like they know us and they're our friends because we just told them our innermost secrets and details of our lives for an hour. What they forget is we know absolutely nothing about the audience.
I wondered why it had to be so poisonous. Oleanders could live through anything, they could stand heat, drought, neglect, and put out thousands of waxy blooms. So what did they need poison for? Couldn't they just be bitter? They weren't like rattlesnakes, they didn't even eat what they killed. The way she boiled it down, distilled it, like her hatred. Maybe it was a poison in the soil, something about L.A., the hatred, the callousness, something we didn't want to think about, that the plant concentrated in its tissues. Maybe it wasn't a source of poison, but just another victim.