Before the group left, Gary asked for my phone number, and the next day he called to ask me to dinner that night. I had no idea he was married, but I found out that night.
People don't want to listen to a celebrity tweeting about their charities and shows. That's why comedy writers do well - we put out little funny ideas.
Aging is God's idea. It's one of the ways he keeps us headed homeward.
"I'm at your house?" Kody asked."You don't have to sound so offended. I do have people clean it, you know?""Sorry." She sighed wearily. "You have no idea how confusing it is to wake up in a strange place with no idea how you got there."Caleb laughed. "Sure I do. Happens to me frequently."She rolled her eyes at his frightening lifestyle. "Yes, but I woke up in this bed alone."
Get rid of the bondage of body; we have become slaves to it and learnt to hug our chains and love our slavery; so much so that we long to perpetuate it, and go on with "body" "body" for ever. Do not cling to the idea of "body", do not look for a future existence in any way like this one; do not love or want the body, even of those dear to us.
Our ... advantage was that we had evolved unstated but fruitful methods of collaboration ... If either of us suggested a new idea, the other, while taking it seriously, would attempt to demolish it in a candid but non-hostile manner.
In teaching, you do not want to COVER things, you want to UNCOVER them. The best way to get good ideas is to have lots of ideas.
Every successful photograph, except for lucky shots, begins with an idea and a plan. The more precisely a photographer knows what it is he wishes to do, the better the chances are that he will do it.
And how deeply do I let business considerations affect [screenwriting] choices that might otherwise be more or less esthetic? . . . Do I choose the upbeat rather than the downer ending because I know it will score better at the preview? Can the idea be sold in a single sentence? Can it compete with space aliens and tornadoes and missions impossible?
GOOD AS NEW was born out of the idea of writing a play where the stakes were high and the collisions were of a verbal nature. Also I wanted to write a play where people were smarter than I was, and more alive than I feel normally. I became interested in the idea of characters who would surprise me. I guess one could argue that nothing comes out of you that wasn't within you to begin with, but maybe there are ways to trick yourself into becoming more an observer or an advocate for the characters.
The play is a very simple idea really; someone needs some support and consolation, and she finds a place where she gets it.
It was a roller-coaster process. For a long time I had no idea what I was doing. I wasn't writing with an outline. And, rare for me, I wrote scenes out of sequence. . . . I didn't understand the play when I wrote it. It was something I'd give in to. It happens to me periodically. I give over and write whatever comes to me and I don't know what it means and then I do. It's thrilling.
Regarding pushing the form, ideas interest me more than form. I think you can write a very subversive play in a three-act structure. The content makes the play. I feel the form is simply dressing, because ultimately, you want to communicate to the audience, and sometimes the best way to do that is to present a provocative idea in a format that is comfortable for them to receive. Then the idea will come through directly, right in solar plexus. After all, I want to make a living as an artist, and that means speaking to the audience in a form they can understand.
. . . the whole idea of WHAT HAPPENED WAS.... is not about dating. It is more about people who are not committed to who they are or are indifferent about their life in general, which is how I felt about myself when I wrote it. I had turned 40 and I was unhappy and I wanted to write about that. Dating just became the framework. . . . I like all those fringy, weird, nonverbal, quiet, tiny little things, those powerful interchanges between people, things that go unsaid, that people know are happening all the time but nobody wants to talk about. That's what I want to make movies about.
I firmly believe in and support everyone's right to freedom of artistic expression. STEEL MAGNOLIAS is my artistic expression, and it is my right to say that its female characters be portrayed by women. The concept of a play set in a beauty parlor where men portray women is a terrific idea. If that is someone's artistic expression, I encourage them to write their own play as soon as possible.
It is not too fantastic to say that he desired them with some of the absolute passion that characterised the exposed and flaming heart of Jesus which hung on Emilie's wall. Since this narrative has tried to avoid the canonisation of the Herr Direktor, the idea of the sensual Oskar as the desirer of souls has to be proved.
Faith is a great thing, and really religious people would like us to believe that faith and knowing are the same thing, but I don't believe that myself. Because there are too many different ideas on the subject. What we know is this: When we die, one of two things happens. Either our souls and thoughts somehow survive the experience of dying or they don't. If they do, that opens up every possibility you could think of. If they don't, it's just blotto. The end.
We must become free. We are free; the work is to know it. We must give up all slavery, all bondage of whatever kind. We must not only give up our bondage to earth and everything and everybody on earth, but also to all ideas of heaven and happiness.
The product of mathematics is clarity and understanding. Not theorems, by themselves. ... In short, mathematics only exists in a living community of mathematicians that spreads understanding and breathes life into ideas both old and new.
Mathematicians can and do fill in gaps, correct errors, and supply more detail and more careful scholarship when they are called on or motivated to do so. Our system is quite good at producing reliable theorems that can be solidly backed up. It's just that the reliability does not primarily come from mathematicians formally checking formal arguments; it comes from mathematicians thinking carefully and critically about mathematical ideas.
This common and unfortunate fact of the lack of adequate presentation of basic ideas and motivations of almost any mathematical theory is probably due to the binary nature of mathematical perception. Either you have no inkling of an idea, or, once you have understood it, the very idea appears so embarrassingly obvious that you feel reluctant to say it aloud.
What is the fundamental hypothesis of science, the fundamental philosophy? We stated it in the first chapter: the sole test of the validity of any idea is experiment. ... If we are told that the same experiment will always produce the same result, that is all very well, but if when we try it, it does not, then it does not. We just have to take what we see, and then formulate all the rest of our ideas in terms of our actual experience.
Why do I act as I do? To tell you the truth, I have absolutely no idea why. It is simply my nature to act as I act, and that's all I can say.
The revolutionary idea that defines the boundary between modern times and the past is the mastery of risk: the notion that the future is more than a whim of the gods and that men and women are not passive before nature.
We do not associate the idea of antiquity with the ocean, nor wonder how it looked a thousand years ago, as we do of the land, for it was equally wild and unfathomable always.
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