Donald Trump's views on Vladimir Putin, I think, are troubling. And I don't think he fundamentally understands exactly who Vladimir Putin is or exactly what he's trying to do. So, these are the kinds of things that I think in detail you need to begin to understand.
There are a lot of nice details that are exclusive to C. Wonder, which are the status C. Wonder gold buttons and the tassels. We want the customer and the loyal client to just really know that when they come to C. Wonder they're getting something that's super wearable but is also really luxurious.
Sometimes you'll read something and think, "What is going on here? There must be more to this." The constraints of the news format didn't allow for more detail, or the writer didn't see it or just wasn't interested.
I suspect that any worthwhile exploration of these deep questions about living requires going beyond abstract discussions to the vivid presentation of possibilities. If readers are to be prompted to serious examination of their lives, anatomy isn't enough. We have to be stimulated to imagine, in some detail, what it would be like to live in particular ways.
My style of lyric-writing is very specific and has a lot of details, and I think people react most to that.
People gather details and comparisons but it doesn't really bother me or land on me of any sort. I don't know if I was... Maybe I was influenced by them, maybe I wasn't, but I don't know. I was probably influenced by everything I've heard. So it doesn't bother me at all, but it doesn't sway me either.
Sometimes you think certain details are things that only you would notice, so it's a great thing to feel like you're not by yourself and people understand where you're coming from.
Read Mann's notes, which contain precise accounts of cholera and its symptoms, and observe how careful he is throughout his fiction in getting medical details straight - then you might begin to wonder whether cholera is the only candidate for the cause of Aschenbach's death. What results from this, I think, is a deeper appreciation of Mann's brilliance in keeping so many possibilities in play. The ambiguity is even more artful than people have realized.
It is not all that common, but there is a phenomenon where autism could get worse at about age two. There are some controversies whether regression is a prominent part of autism, but many people feel that it's very hard to diagnose autism before you can begin really talking in detail with a child.
If you look at coastlines, if you look at that them from far away, from an airplane, well, you don't see details, you see a certain complication. When you come closer, the complication becomes more local, but again continues. And come closer and closer and closer, the coastline becomes longer and longer and longer because it has more detail entering in.
The correct word is like any small detail - it enhances life.
I think it's possible to a certain extent to make those comparisons. The problem is the detail with which the comparison can be made. Of course, the first place to make such a comparison would be to ask for a testimony from different people and have people report on what they experience.
It's a great privilege to be able to play that much. When you play a lot, you can be really detail-oriented.
I'm a pluralist about perspectives on literature. There seem to me to be all sorts of illuminating ways of responding to major literary works, some of them paying considerable attention to context, others applying various theoretical ideas, yet others focusing on details of language, or linking the work to the author's life, or connecting it with other works.
Writing in a nuanced way, getting at all the details in a way that remains interesting for the reader, is very difficult.
Actually, screenplays were much more detailed than what I did in the book In the book I had to invent a style for communicating what the sensation of looking at a film would be, whereas the screenplays I wrote in Paris were actual blueprints for how to do the film, with every gesture, every little movement noted in exhaustive detail.
I've always been pretty good at remembering the details about certain things.
I don't think our lives actually unfold with morals attached to them, or meanings that are easily extracted, or jokes designed to generate sympathy. I wanted to do the opposite - to offer up a life whose meanings can only be perceived through a tangle of desires, confusions, and textural details.
I try to really take my art serious, and pay attention to detail.
To conjure a particular knowledge you visualize an architectural structure and then you walk around and see the details that then bring back the words or the poetry or the lines of thought. Memory's going extinct because we rely on machines and copies and so on. The idea of working with structures that conjure dreams, personages, history, time, that can be contained in this way as you walk through your mind, is a challenge.
When you are dealing with approximately two-plus hours every few years to do a story, you don't have the luxury of having excessive screen time to explore, in detail and in-depth, lots of other subsidiary or ancillary supporting characters.
I learned a lot of details about 1920s clothes, cars, kitchen appliances, and food. I had a character eating peanut butter in one scene until I learned that peanut butter wasn't commercially packaged and sold until 1924.
There is space for a different kind of investigative reporting that's about immersion and obsessive attention to detail and deep listening.
The walk is like a matrix, like a diffuse, vague happening. It's like - imagine a play, a work of theatre, that is totally vague, almost devoid of details that consists in one person going on a walk. And as a consequence, there is a necessary tension between the determinacy and indeterminacy, the definite and the indefinite, of possibility.
My characters, I find them as I'm writing. It's quite incredible how fully realized they are in my mind, how many details I know about each of them.
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