Engineering, like poetry, is an attempt to approach perfection. And engineers, like poets, are seldom completely satisfied with their creations. They notice, even if no one else does, the world that is not quite le mot juste, or the hairline crack that blemishes the structure.
For me, with any character, there are different ways that you approach understanding him, and in this film in particular, because I had the novel to refer to. It's always really helpful to have all of that information and all of those hundreds more words which give you an idea into the background and your character and all.
As a cartoonist I do what I find funny. As an editor I have a broader approach realizing that humor is inherently subjective and I don't want my preferences to rule out what others might like.
Funerals cost so much money, and are likely to be an additional source of stress in this recession - it's sad that we don't have a more humane, less commercialized way to approach burial.
Yeah, one of my approaches with my community, my friends, the companies I represent, has been to take the attitude of what I bring instead of what I can get. What can I give?
Well, I kind of approach both of them similarly in (that) I always see it as a movie first because that's my background. Cindy Kelley, who has been my writing partner on my novels, she works more on the prose side and the description side of the storytelling because, obviously, there's a lot more of that in a novel than in a screenplay. You only have up to 120 pages in a screenplay.
Regardless of how dark and heavy the character is the actor has to approach it with that frame of mind.
Part of my approach to my illness has been to say I want to choose life, I want to keep going, I want to live fully until I die.
I don't think about myself having any form or style. Although it does tend to be rather realistic; not too stylised at all, it's not as exaggerated as comic art normally is. I try to go for a more realistic looking approach to my art.
We were very - we were a working family, and my father had this very simple philosophy, simple working class approach. If you spoke to my father and said, "Mr Smith across the road, what do you think of Mr Smith?", he'd only - he'd only say a couple of words. He'd say, "He's a worker", and that meant this bloke got up in the morning, went out, worked, brought his money home, fed his wife and kids, housed them, got them to school, educated them, made sure they were safe and all that. It had so much connotations to it.
You have to have a military and intelligence approach to removing leadership that results in rapid frequent removals from the battlefield. It's got to be one, two a week, not just one or two every three or four months.
I'm a big fan of Henri Cartier-Bresson, the French photographer who had that whole "decisive moment" approach to taking pictures, of having multiple elements line up within the frame.
All my other movies have the same process. Same approach. Same amount of changes. Everything. Things being made up on the fly. Changing things around. Firing and recasting. Constantly, constantly, in chronological sequence, not really knowing how this is going to end up. That is the only dogmatic approach I take towards everything.
As a man grows older, his ability to sit still and follow indoor occupations increases. He grows vespertinal in his habits as theevening of life approaches, till at last he comes forth only just before sundown, and gets all the walk that he requires in half an hour.
I think the reason I choose the comic approach so often is because it's harder, therefore affording me the opportunity to show off. Also, a comic vision is my natural world view, but I've grown up in spite of myself and I can pass the comic twist if it detracts from what the characters need. Yes, the life of a saint is hard.
There are two kinds of filmmaking: Hitchcock's (the film is complete in the director's mind) and Coppola's (which thrives on process). For Hitchcock, any variation from the complete internal idea is seen as a defect. The perfection already exists. Coppola's approach is to harvest the random elements that the process throws up, things that were not in his mind when he began.
It is really refreshing to hear a big band that has the ability to execute ensemble passages with swing and precision while retaining a "small group" feel during the solo sections. This kind of "tight, loose" approach is seldom heard in big bands, whether they are professional or not. Now, all the band needs is to hit the road and take the music around the world!
Playing with various approaches may be due to resistance to going within, to the fear of having to abandon the illusion of being something or somebody in particular.Of all the affections the love of oneself comes first. Light and love are impersonal.When you do not think yourself to be this or that, all conflict ceases. Any attempt to do something about your problems is bound to fail, for what is caused by desire can be undone only in freedom from desire. You cannot be rid of problems without abandoning illusions.
I approach football like a street-ball game, like I'm playing with the fellas in the yard.
People with different personalities, different approaches, different values succeed not because one set of values or priorities is superior but because their values and practices are genuine.
My approach never changes from start to start.
I've always enjoyed baseball, but even when I was a kid I can remember viewing it with a businesslike approach.
We can't see and we can't reach the frontiers of our ignorance; we can only approach to it by extending our knowledge.
In order to deal with the issues we're going to take a thoughtful, considered, intelligent approach to moving forward, we're going to do it with a great deal of consultation ... but to suggest you never change anything ever, ever, ever going forward I don't think is particularly responsible.
I have a strong hips and groin. It's the leg speed, the way I approach the ball. My first step is not very hard, but my second is explosive.
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