It's fun to have a crush on somebody, even one that lasts only fifteen seconds. In New York I can go down the street and have a crush on somebody coming toward me, and then she walks by and the crush disappears. It's quite pleasant.
When a building is so complete within itself, I always think, "Why do I even have to go inside it?" I would love to do architecture that people can have a free hand in the making of it. We've done spaces where things are hinged and they can go out or in, but that's not freedom. That's supermarket freedom, or the notion that you can have anything you want as long as the supermarket carries it. We would love to do a space where you go inside and there's nothing there. You might have a seat and when you don't need it anymore you get up and it disappears.
Cities begin to use cultural production as a way to market their city as being unique and special. Of course, the problem with this is that much of culture is very easy to replicate. The uniqueness begins to disappear. Then, we have what I call the "Disneyfication" of society.
I felt saddened and confused to discover my favorite mural gone, but also hopeful that another one may be in the works. Street art is mysterious and impermanent like that. It can appear or disappear overnight. Murals like these are at risk of desecration, transformation, erasure. Someone's gonna piss on it, draw a mustache on it, tag it. The weather's going to make it fade. That's part of the beauty, I think. Murals have value without being precious.
What we have seen for a very long time is large corporations shutting down plants in this country, plants that are often profitable, in order to get cheap labor all over the world. And that is one of the reasons why the middle class in this country is disappearing.We have lost our manufacturing base, and that's an issue that has got to be dealt with.
What I didn't realize about television was that's true of acting, as well. You have that space of time to develop who you are, and you can use more and more of yourself. The lines between that character that I'm playing and myself become more and more blurred and, after awhile, they just disappear, altogether.
Would it be better if religions were to disappear? I have no idea. Since I do not have any confidence in the association of truth with virtue, I am not sure if the world would be a better place if people believed more true things. But what is undeniable is that we cannot understand our own culture unless we recognise that it was formed, for good or bad, as a Christian culture. It's an illusion that we could somehow recover a human essence which is independent of the way it was created by culture.
You cannot build a cultural identity without the images and sounds of your culture. Most countries in the third world - poor countries - they've lost their memories. Because everyday, films and cultural artifacts disappear. Film is also a memory - of the character and imagination of a culture.
Both sameness and difference are issues for us. A sign of cultural homogenization is that languages are disappearing at an alarming rate. I am heartened by signs that some peoples are fighting back, e.g., the revitalization of the language of the Wampanoag tribe in Massachusetts. But if we reject essentialism about culture, we will be cautious about overgeneralizing about what homogenization is and to what degree it exists. If we think of cultures as dynamic, internally diverse and contested, we will be aware that what looks like homogenization may be deeper down this more complicated thing.
I will say this: it's important to work hard, but you have to know your limits. There's always another show, but if there's no "you"; if you have nothing left to give, nothing else happens. It all disappears.
I don't want to make a film that offends people, but the whole world is so politically correct - I'm not going to not do something because it may be politically incorrect. At some point, the metaphors and allegories break down. They disappear, and you just have science fiction.
Shopping as lifestyle is really a sub-cultural problem. When the strictures that set you apart or oppressed you, disappear, is there a way, legitimately, to maintain your sense of specialness and difference? And how do you express that? Does it just become a kind of kitsch? You can say this of gay people, but it's true for Jewish people, Italian Americans, everyone who deals with it. It's a question of assimilation. How can you be assimilated and special at the same time?
Daily absorption in the physical actualities of nature is life as I need it to be: it means I am connected to such large things - sky, sea, hill, the vagaries of weather, the undeniable needs of animals - that I can disappear as a subject of interest, I can exist without self-consciousness. The city is a challenge for me, however thrilling a few days prove, for its insatiable overstimulation and the rarity of quiet. The city makes people bigger than they need to be.
The political world is changing rapidly. What the establishment has learned, what the Democratic establishment, the Republican establishment, the media establishment, is the world is not quite what they thought it was. With the middle class disappearing, with people working longer hours for lower rages, with people worried about the future of their children, what you are seeing is a lot of discontent at the grassroots level all over this country. And that's what's going on right now.
In a changing world, some jobs disappear and new ones are created. That's how it has been for hundreds of years. When jobs disappear, the vast majority is not because of global trade, but because of technical advances, robotization and so on. So, we - and in particular, EU member states - have to invest more in training and education so that people will have new opportunities if their jobs are cut. The EU can also better utilize its investment and social funds to protect its citizens from swift changes.
I think capitalism will not disappear, but it's going to increasingly not be the exclusive arbiter of economic life. It's going to have to find value in interacting with the sharing economy on many levels. And this hybrid system that's already emerging among millennials is going to be a mature system where, by midcentury, part of the day will be in the capitalist market, part of the day in the sharing economy, depending on your marginal costs.
I think people go to the movies to be entertained, to have an experience, to disappear from their own reality for a couple of hours. If the film truly succeeds in everything the filmmaker sets out for it to be, then it's elevated to art. It's elevated to something special, because it gives people a visceral feeling of something they're experiencing as a collective group. You feel something and that's what turns it into what you may call art.
Beyond the Einsteins and Darwins, most scientists don't have chroniclers. Einstein and Darwin were geniuses - that helps. Many scientists do amazing stuff, but it just disappears into footnotes and dusty medical journals. If I were masochistic enough, I could spend the rest of my life rescuing scientists. Most of them aren't natural self-promoters.
I think my philosophy on music is sort of like the difference between religion and spirituality or religion and faith. There's a lot of bullshit in the music industry. It's really tough to get a leg up and navigate around your gender and stereotypes. You feel hopeless, [but] all of that disappears the minute that I start writing a song. Then I record something and have that magical feeling. You have to have the negative and the positive. Trying to own that and go to that place in yourself creatively is the most important thing.
Fondness for people can be terrifying, because it's intangible and it can disappear, or it can be taken away, or you can say the wrong thing. A million things, so it's so uncomfortable. So when you suddenly become aware of it because they don't call you or something for half an hour or whatever, you lose it.
Today it's not strange to see an artist 30 years old having her first retrospective! Different time, different speed. After having been the key point of recognition for an artist, the museum today is just another place to experiment and work, like we can do in any art fair. The king or queen of the moment is completely ignored and replaced by the new one a few years later. Contemporary novelty in art disappears faster than the seasonable changes of the fashion designs.
One of our continuing myths was summed up in Huckleberry Finn: Our escape, what we think of as our escape, is that we can always light out for the territories. Well, we really can't, not anymore, but that's part of the American character - that belief that at any moment, I could just drop the coffee cup and disappear. And it makes for a different self-image and a different story, in a way.
My father left us three times when I was between three and six. You just couldn't tell - suddenly one day he would leave and then maybe he would come back after six months without telling you why. And then maybe he would disappear again after a year and it's very difficult to take when you are four or five. You just don't know how to handle it and nobody in the family wants to talk about it. My mother didn't know how to tell us and she needed to work because we needed money to live.
If I had an author superpower, I would like to have the ability to stop time for everyone else. I feel like I have to disappear into myself to write books. I go away, into my head, for hours and weeks at a time, and I hate that I miss everything. It's pretty selfish to want to pause other people, isn't it?
I kind of feel a bit insecure about things. At fashion parties, I do feel like people are kind of watching me and I get so shy, and I think, Oh, if only I could have a drink now. But then that feeling disappears - it actually disappears pretty quickly. I remember how happy I am that I don't drink anymore. I think about all the bad times I had when I was drunk. I messed up so many things. I don't want to do that anymore.
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