Art is violent. To be decisive is violent. ... To place a chair at a partial angle on the stage destroys every other possible choice, every other option.
Everyone who has ever overcome hardship or adversity has done so in large part because he or she has chosen, consciously or unconsciously, to "let go" of their past hardship and pain by embracing, what I call, a Miracle Angle - a way of seeing their circumstances that allowed them to transform their circumstances into a spark for positive change.
The mathematician of to-day admits that he can neither square the circle, duplicate the cube or trisect the angle. May not our mechanicians, in like manner, be ultimately forced to admit that aerial flight is one of that great class of problems with which men can never cope... I do not claim that this is a necessary conclusion from any past experience. But I do think that success must await progress of a different kind from that of invention.
Ultimately, we as a band just write what we write. Some of it's very serious, and even in the serious songs, there's sometimes an angle of levity. I think that's just how we communicate naturally and to shy away from that would be, first of all, boring for me, but also it wouldn't ring true to who I am or the way I relate to people or the way we relate to people as a band or the way we relate to the audience. Humor is a big part of it, but we also take our craft very seriously.
Clarity of vision - what you've been looking at from the wrong angle and not seen at all.
I don't really understand it even now, It does have an angle which is attached to something quite primal in girls. I guess people want it to define them, like 'I'm a Twilight fan.' That's crazy to me. I think people really just like being part of a crowd. There's something just tremendously exciting about hyping yourself up to that level.
This is quite difficult 'cause I have a really flat head, and so it's quite difficult to get a correct angle. And you can't go up from down below as well, 'cause I've got, like, rock solid gelled hair. And so, like, it was odd. I don't know, sometimes I feel like my head is being, like, turned inside out. Like that episode of Ren & Stimpy when he's inside his own belly button. I don't know.
I am not very interested in extraordinary angles. They can be effective on certain occasions, but I do not feel the necessity for them in my own work. Indeed, I feel the simplest approach can often be most effective. A subject placed squarely in the center of the frame, if attention is not distracted from it by fussy surroundings, has a simple dignity which makes it all the more impressive.
The two revolutions, I mean the annual revolutions of the declination and of the centre of the Earth, are not completely equal; that is the return of the declination to its original value is slightly ahead of the period of the centre. Hence it necessarily follows that the equinoxes and solstices seem to anticipate their timing, not because the sphere of the fixed stars moves to the east, but rather the equatorial circle moves to the west, being at an angle to the plane of the ecliptic in proportion to the declination of the axis of the terrestrial globe.
Both law and comedy are heavily focused on thought and viewing all angles. To write a good joke, you have to look at a premise every way possible. And with a good legal argument, you have to see all sides to get the best line of argument for your client. Law school made me a better comic, and comedy has made me a better public speaker.
Here on the edge of the river, the motifs are very plentiful, the same subject seen from a different angle gives a subject for study of the highest interest and so varied that I think I could be occupied for months without changing my place, simply bending a little more to the right or left.
I approach cooking from a science angle because I need to understand how things work. If I understand the egg, I can scramble it better. It's a simple as that.
I am always amazed by the novel angles that people come up with for kids' Christmas books. Even if a family is not religious, who could resist, say, "Olive, the Other Reindeer," about Olive the dog who thinks the song refers to her and heads for the North Pole to help Santa out?
I worked out a book which I thought was just straight science fiction -- with everything pretty much explained, and suddenly I got an idea which I thought was kind of neat for working in a mythological angle. I'm really struggling with myself. It would probably be a better book if I include it, but on the other hand I don't always like to keep reverting to it. I think what I'm going to do is vary my output, do some straight science fiction and some straight fantasy that doesn't involve mythology, and composites.
Once I'd worked out that I couldn't possibly expect people to enjoy a monstrous, 3000-page book, I realised I could in fact create a labyrinth of a story with four different points of entry. But what interested me was creating something that would rearrange itself every time you read one of the other books. So depending on which order you read them, the implications and angles would change. To get that right, each one of the books had to have its own personality and texture -- even though they are connected, they are very different creatures.
London always reminds me of a brain. It is similarly convoluted and circuitous. A lot of cities, especially American ones like New York and Chicago, are laid out in straight lines. Like the circuits on computer chips, there are a lot of right angles in cities like this. But London is a glorious mess. It evolved from a score or so of distinct villages, that merged and meshed as their boundaries enlarged. As a result, London is a labyrinth, full of turnings and twistings just like a brain.
London is an endless skirmish between angles and emptiness.
I am, Sir, a brother of the angle.
I did not know then that this is what life is - just when you master the geometry of one world, it slips away, and suddenly again, you're swarmed by strange shapes and impossible angles.
All golfers fear the one-iron. It has no angle, no loft. The one-iron is a confidence-crusher, a fear trip, an almost guarantee of shame, failure, dumbness and humiliation if you ever use it in public.
The Sahara was a spectacle as alive as the sea. The tints of the dunes changed according to the time of day and the angle of the light: golden as apricots from far off, when we drove close to them they turned to freshly made butter; behind us they grew pink; from sand to rock, the materials of which the desert was made varied as much as its tints.
Farmers are philosophical; they have learned that it is less wearing to shrug than to beat their breasts. But there is another angle to their attitude. Things happen rapidly in the country; something new always comes along to divert them and it isn't necessarily another calamity.
Houses are the abiding joys; they are the most emotion-stirring of all things. An automobile is regarded with fond affection, a typewriter becomes the inseparable companion, clothes can stir sentimentality, and the bit of bric-a-brac is a toy one would weep to see torn away - but houses are real, deep, emotional things. How much excitement in the cutting of a window, what enormous importance in the angle of a roof!
As actors, we need public relations to campaign for our next possible role, and any media promoting our work seems positive in nature; but whether in theater or on a film set, a bad unprofessional photograph at the wrong angle may not be as flattering to some actors, and may be considered a harmful exposure.
I try to write like the writers I admire - I rip them off in form. It comes from George Strait and Merle Haggard records, and country music in general is really good at that, the twisted phrase... So Im always looking for that angle in my own work.
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