I don't think there's any connection between my journalism career and my film career. They are two totally different mediums and very different skills.
I do love writing prose interspersed with the poetry of other people. Their rhythms break into my prose and create a connection.
I started to play noise on my cello because I felt a deep personal connection to it. I mean, I still love all the beautiful sounds of the cello as much as anybody but it's only when I play certain sounds I know that the cello really presents who I am; not my emotions but who I am as a person.
The point of life for me is just to make connections with people and share experiences with people.
I never go out, ever. And I think that's why I've been craving human connection so badly, and in a way, I'm excited to go on tour to be around people all the time.
University is sheltered from the business world and they think they should not have any connection with the businesses because maybe the business is dirty or not very good.
In essay writing, I'm trying to push the form of expository writing. I'm trying to remember, trying to reckon, trying to find connections with the world, the nation and me, but I'm always trying to push the form, too, without being too obvious that I'm trying to push the form.
I guess because twins have this mystique, and triplets - I think the normal sibling connection potentially can be very powerful, and there's this idea that it's even more powerful. It really is, not just someone like me, but another version of me.
What happens when you speak colloquial Hebrew is you switch between registers all the time. So in a typical sentence, three words are biblical, one word is Russian, and one word is Yiddish. This kind of connection between very high language and very low language is very natural, people use it all the time.
Particularly when I thought of myself as a Wallace Stevens acolyte, I wrote very difficult poetry and I was really guilty of not knowing what I was talking about. I was going for a kind of clever verbal effect. I was trying to sound linguistically or verbally interesting. I had a sense, I guess, from just reading a lot of poetry of how a poem would start and how it would end but really I didn't know what I was doing. It had very little connection to my life.
Because I was in psychiatric treatment for most of my childhood and had to learn English and had to adjust to a white-dominated society, I truly know what being Sudanese refugees [adopting by white family] mean. It's not something that you can explain in the confines of an interview, but there is an immediate comfort, a connection between black phenotypes that is natural.
I think we're put out into the world to forge relationships with people. Those can be as small as buying coffee from someone or as large as a marriage. The important thing is that we try to make connections or have experiences with other humans. Otherwise what's the point of being on this earth?
I guess at it's very core love is connection that just makes so much sense you wonder how you used to live before you were lucky enough to experience it.
Yoga is vital because it keeps me in full awareness and connection with my breath.
When you think of a social network, you have these two-way interactions: "Are you my friend? Yes? No? Yes?" Like LinkedIn, it's business oriented, but it's all about establishing connections. You connect to me through my other connections, and that sort of thing, and you sort of define who your friends are. Twitter doesn't have that.
When you think about email or IMing, why aren't you writing back? I can see your avatar, I know you're online, why aren't you writing me back? But with Twitter, everybody sends their responses to Twitter, and Twitter then sends them out to everyone. So there's not this constant connection. You can be hyperconnected, then you can take a break for a couple days and it's fine.
One of the points where the art world is at its most metaphysical is in this weird aspect of the power of the expert. There are experts who claim they cannot be fooled because they have an inner connection to an artist and can feel whether something is genuine or fake. I've heard experts say, on panels: When it comes to my period, or my painters, I cannot be fooled. And of course that's completely ridiculous.
Not to any really influential effect, but certainly there have been comments that have surprised me. It's surprising sometimes to get particular perspectives on your work, and it's enlightening sometimes to know that non-writers and readers out there have certain assumptions about everything that I both want to keep in mind and want to forget about why I write, and about the connection between me as a private person and the stuff that I think about on the page.
Criticism can be wonderful, especially in making connections in an interpretive way. But by applying theories randomly, it's an interesting exercise, but I don't think it illuminates the literature.
I probably owe as much to Jeff Beck as I do to Son House with connections to the blues.
I do think that people yearn for connection and intimacy, and that they're hard things to achieve.
The novel's not the best form for disposing ideas, though that's one thing it can do. It likely is the best form, though, for conveying the experience of us each being alone, trapped in our skulls with only these bodies and this imperfect instrument of language to convey our state and to find meaning and connection.
I am a particle physicist, which is the nearest branch to nuclear physics. So in that sense I was the sort of right connection with the subject of nuclear energy and so on.
The festivals are cool because you make a lot of connections at the festivals.
There was an Israeli artist who was in grad school with me. I remember trying to get to know him on a more personal level. He had moved to the Fairfax area, not realizing that it's a super Jewish part of L.A. He told me, I don't understand why American Jews feel this connection with me. I was embarrassed because I was feeling that connection with him, too!
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