It is the moral element contained in it that alone gives value and dignity to a religion, and only in so far as its teachings serve to stimulate and purify our moral aspirations does it deserve to retain its ascendency over mankind.
There is a universal element in man which he can assert by so acting as if the purpose of the Universe were also his purpose. It is the function of the supreme ordeals of life to develop in men this power, to give to their life this distinction, this height of dignity, these vast horizons.
There is no reason why an extraphysical general principle is necessarily to be avoided, since such principles could conceivably serve as useful working hypotheses. For the history of scientific research is full of examples in which it was very fruitful indeed to assume that certain objects or elements might be real, long before any procedures were known which would permit them to be observed directly.
One volcano in Hawaii, one volcano in Indonesia, produces enough gases in the atmosphere, which include those natural elements that are in the Earth's crust, that, uh, kind of make all the, you know, the science that we have about what we produce, moot.
So, in every case if you really love someone there is an element of submission to them because you want what's best for them, and at times they're going to tell you what's best for them. Even if you have second thoughts about it, you'll probably still do it because you love them.
I think the beauty of documentary work is that it's a mystery - you never know where it's going to lead you. You start out with some notion of it, but it's very different from a script. A script you write, you shoot against, and you know what the story is going to be. There's always the element of surprise, but the surprise comes from performance, from something that's improvised, it comes from someone who sees it inside an already determined framework. In documentary, it's never determined. It's never the same, and affords enormous possibility.
For every role, I brought certain elements of the character. Even on White Collar over six years, I tried to keep the set fun and breezy and Howard Hawks-y and very of the tone of the show.
I think fire is so critical in the wild. You can cook with it, you can make tools, you can deter a predator, you can dry your clothes and you get that element of morale that matters so much when you're stuck in the middle of nowhere.
I could sing and play as well. I've got some brothers; one of them is the drummer in the band. They're good musicians. I play for fun. They play properly. Music in general, I grew up in a house of musicians. Everybody's life has a soundtrack, I'm sitting here talking to you but there are horns beeping outside. I know I'm in New York. That's an element in the film as well. How strong that sense can be.
Sam Fuller and 'Shock Corridor' can only be conjured as a mantra. 'Shock Corridor' is a classic work of art - it's unique. It comes from the unique experience of being Sam Fuller and yes, there's always that element of 'Shock Corridor' hovering around the picture, but never specifically. In fact, I didn't even screen it because it's in us. It's in me anyway. It's in me. It was a way of conjuring up support just by saying the name, 'Shock Corridor,' as I was going to shoot. Poor Sam [Fuller]...
The tone of the picture and the atmosphere was in my head and in my blood in a way once I'd decided to make the picture. I had to find my way through that to choose, select, emphasise certain visual elements and sound.
In retrospect, I think that I've been given quite a few scripts over the years that had dark elements to them but most of them took place in the countryside with a haunted house. I think I've probably had that script about six to 10 times over the past few years. Or it was something to do with the supernatural.
I was in Afghanistan and then obviously in Iraq. And I realized that you can't control life. You can do a lot to prepare. You can train, and at the end of the day there's an element that's always going to be beyond your control.
Most movies don't have the ability to find an audience. So the movie plays out very quickly in a lot of theaters to get the biggest gross. So that demands that we make things that are hits before they open. So they have to have the elements, they have to be franchises.
The whole purpose of screenwriting is to convey everything through action and dialogue and not explanation and exposition. To me, there are movies where voiceover works really well because it does something more than exposition; it actually becomes a tonal element of the movie.
Just concentrate on the performers. Make sure you get the performers, and that's it. That's all we need to do." And I was thinking, "Well what if you do both? Of course the performance is important, the writing is really important. But what if you could have the perfect marriage of making it look really slick as well?" I think that's kind of what I tried to develop as a style, and Spaced was the first TV show I did where all the elements came together.
We've kind of grown up in a post-Star Wars era, and what Star Wars did to cinema, in terms of an explosion of that kind of blockbuster culture. It's thrown up a generation of geeks. With the evolution of computer games and the Internet, that's all impacted on us as a generation, and affected the creative element of that generation enormously. So whereas the different schools of filmmaking...
I think that clothes should be a shelter like a house or a rug. I think that there is that element of protection and a uniform can be just that.
I don't fear death. I'm not obsessed with it the way everybody else seems to be. It's wrong to say "everybody," but in literature I see it all the time - preoccupation with it, philosophical preoccupation, in fact. That's a principle element of literature and philosophy, often cited as the main element, the only real element. I say give it up.
It's three disparate elements: the stop sign, the stage paintings, and the skeleton paintings. Those are three sharp ideas, although none of them are necessarily good ideas. Tons of artists have made whole careers out of those three ideas.
In our highly mediated, technologically driven world, we're all looking for meaningful ways to connect. This has constantly inspired me to create environments full of lively, immersive, experiential elements specifically crafted to foster human connection.
I love every aspect of the show. I've been very involved. It was important for me to be very involved in, you know, all of the creative elements. And so, you know, it - David, you know, being brought onto the show, you know, that - I always just wanted to make sure that we maintained the sophistication and intelligence of (the) - and the comedy that we were able to establish in the mini-series.
Boldness is a crucial element of genius.
There has been a constant struggle on the part of the military element to keep the end- fighting, or readiness to fight-superior to mere administrative considerations. The military man, having to do the fighting, considers that the chief necessity; the administrator equally naturally tends to think the smooth running of the machine the most admirable quality.
Education is character development, harmonious completion of human personality. But what the state accomplishes in this field is dull drill, extinction of natural feeling, narrowing of the spiritual field of vision, destruction of all the deeper elements of character in man. The state can train subjects...but it can never develop free men who take their affairs into their own hands; for independent thought is the greatest danger that it has to fear.
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