At that moment, something shifted sweetly inside him. It was forgiveness, beautiful and effortless and complete. For Louie Zamperini, the war was over.
It's funny how in that moment I see things clearly. Am I beaten down? Yes. Have I allowed myself to become a victim? Somewhat. Am I afraid? Always. Does some part of me still long to fly away from this place? Absolutely. But I can't leave. Sam and I have built a life for Joy. It isn't perfect, but it's a life. My family's happiness means more to me that starting over again. Page 210
..there is nothing worse than the feeling that no one cares whether we exist or not, that no one is interested in what we have to say about life, and that the world can continue turning without our awkward presence. I began to imagine how many millions of people were, at that moment, feeling utterly useless and wretched—however rich, charming, and delightful they might be—because they were alone that night, as they were yesterday, and as they might well be tomorrow.
That moment she was mine, mine, fair, Perfectly pure and good: I found A thing to do, and all her hair In one long yellow string I wound Three times her little throat around, And strangled her. No pain felt she; I am quite sure she felt no pain. As a shut bud that holds a bee, I warily oped her lids: again Laughed the blue eyes without a stain. And I untightened the next tress About her neck; her cheek once more Blushed bright beneath my burning kiss . . .
She'd never imagined it like this-when she thought of someone (a woman like herself)losing her mind, she'd imagined shrieks and wails, hallucinations; but at that moment it had seemed clear that there was another way, far quieter; a way that was numb and hopeless, flat, so much so that an emotion as strong as sorrow would have been a relief.
a man who has decided upon self-destruction is far removed from mundane affairs, and to sit down and write his will would be, at that moment, an act just as absurd as winding up one’s watch, since together with the man, the whole world is destroyed; the last letter is instantly reduced to dust and, with it, all the postmen; and like smoke, vanishes the estate bequeathed to a nonexistent progeny.
All that mattered was that he was Adrian, my Adrian. My match. My partner in crime, in the long battle I’d just signed on for to right the wrongs in the Alchemist and Moroi worlds. Maybe Marcus was right that I’d also signed myself up for disaster, but I didn’t care. In that moment, it seemed that as long as Adrian and I were together, there was no challenge too great for us.
I was having a conversation with one of my teammates and she asked me, "Aren't you so glad it's over? We don't have to compete anymore." I thought that was a strange comment but in that moment I realized that I was doing it for the right reasons. I wasn't looking at the Olympics to define me. I wasn't to arrive somewhere by performing well in a contest.
I was living my own future and my brother's lost one as well. I represented him here just as he represented me there, in some unguessable other place. His move from life to death might resemble my stepping into the kitchen - into its soft nowhere quality and foggy hum. I breathed the dark air. If I had at that moment a sense of calm kindly death while my heart beat and my lungs expanded, he might know a similar sense of life in the middle of his ongoing death.
Moments are so fleeting; I want to hold on to the good ones. When I am truly present, I feel alive, and I want everyone around me to share that feeling so we can make the most of that moment together.
Most movies are lucky to have one moment, one shot that you look at and you always remember that moment and that scene.
Before each new setup, I chase everyone off the set in order to be alone and look through the camera. In that moment, the film seems quite easy. But then the others come in and everything becomes difficult.
The memory of that scene for me is like a frame of film forever frozen at that moment: the red carpet, the green lawn, the white house, the leaden sky. The new president and his first lady.
Twenty-nine years ago, I came to faith in Christ after a gentleman from the Gideon's International gave me a free copy of the New Testament Bible. I started in Matthew and read all the way to Ephesians 2 when it finally clicked for me. After reading about salvation by grace through faith, I cried out to Jesus for his forgiveness and surrendered my whole life to Him. At that moment, I became a new person.
People have to understand one thing: at the age of 18 I arrived at a dream club like Manchester United. It was a dream come true. But, even at that moment, I was thinking about playing in England for some years and then going to play in Spain. Even at that time I was thinking that way, and I always gave 100% everything.
When I sing, I have to live in that moment, so my audience can feel that. That is my reason for doing art.
A woman is more than the sum of her parts. So I had an opportunity to present some work at the White House. I chose not just to talk about the sky, the planet, love or heartache. I wanted to actually be there, to place a mark on that moment.
I have always been happy. Even if I had been more honest with regard to myself at that moment I should still have written La Nausee.
If I'm nervous, it means I had to work hard to get there, whether it's playing in a tournament or speaking at an event. So I try to stop and be proud of getting to live in that moment.
I find that I put my body in my work when I am at a particularly difficult or joyous point because I want to feel that moment.
There is something to the fact that when you're on stage or when you're playing someone else, you're able to transmute all the things inside you that maybe get a bit blocked by the wall of shyness, or the wall of anxiety, or [by] overthinking. They sort of fall away in that moment and channeled into something else.
During the songs, you transcend yourself. The best way to be in the performance is to be without pause and be essentially in the moment, in that moment of expression.
I have such amazing memories [about The Hotel New Hampshire movie], because Tony Richardson was such an amazing director, and the subject matter was so bizarre, and yet it was the most sought-after part at that moment. And then it had the good fortune to come out on the same day as Splash.
I find myself unable to let go of the sense that human beings are somehow special, and that moment-to-moment human experience contains a certain unquantifiable essence. I still suspect there is something too quirky, too paradoxical, or too interpersonal to be imitated or re-created by machine life.
And in that moment, I swear we were infinite.
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