I'm intrigued with figuring out the places [where] the horrible and the beautiful meet - that aesthetic fascinates me.
I always was intrigued with writing my own stuff, and I was always really bad at learning other people's stuff.
I was looking at a lot of experimental writers, and I was very intrigued by short-short fiction, writers who would write little things, what I call buttons now, little vignettes.
I'm able to actually choose places to go which have intrigued me for the last god knows how many years, and Tasmania's always been one of those places.
The real challenge is to give a really nuanced performance and really push myself, to make sure that we see a very complete picture of a woman living with Asperger's. Of course, I'm always intrigued. I learn so much from the show about storylines that actually happen on the border.
I was really intrigued by them, became fascinated by them because they were asking questions that couldn't be answered almost, or were making statements that you couldn't quite understand. Like, 'I'm investigating things that begin with the letter M.' That took me through a whole stratosphere of possibilities, and doing a little research and discovered that the M is mercury.
A lot of the audience know that magic tricks are largely sleight of hand stuff, but they're intrigued by the mind stuff. They understand some of the principles behind it . . . but they're confused by how it's all mixed together onstage, which is good for me.
I think main storylines are what always intrigued me, with those that were the relationships between the characters against whatever backdrop, whether it was in an ordinary universe or a universe in the future.
That's a terrifying prospect for myself, and I'm sure many other people, as well. We leave TVs on in our house. I listen to my record player, constantly, to just hear music. I'm really intrigued by the idea of solitude. I'm excited about that.
I got a bit obsessed with the whole English language and was writing journals and poetry. I've always been intrigued about psychology and philosophy and how people's minds work.
I think age is really changing how I write and the themes that I connect with. But there are also things I'm really intrigued about.
What I like about the Carpenter take on The Thing is the fact that it just has so much suspense. It seemed like a different story, with the horror elements. Those films that really speak to the primal fear that we, as human beings, have about the unknown have always intrigued me. That's the really scary thing, not the slasher, macabre movies.
Coal is the moral choice, particularly for the developing world... The model for the world right now should be Australia. Australia gets it. Scientifically they get it, politically they get it and particularly when it comes to the United Nations, they get it. They are pulling out of this, they are repealing their carbon tax and Canada seems to be intrigued by what Australia is doing.
I studied trumpet for almost 15 years and was performing with a professional concert marching band in parades and rodeos. I was headed back east to study music, and if I hadn't been intrigued with the Native American flute, I suppose I'd now be jockeying for first chair of the brass section of some orchestra, or perhaps I'd be teaching music in a school system.
Audiences are less intrigued, honestly, by battle. They're more intrigued by human relations. If you're making a film about the trappings of the period, and you're forgetting that human relationships are the most engaging part of the storytelling process, then you're in trouble.
Often I'm struck by something that I read; then I go and research it a little more, especially if I begin a poem, and I find out that I need to know more. Then I usually get intrigued and excited about whatever it is I'm writing about.
I've always been intrigued by things that insinuate femininity, so in my designs, something like a flower is never about the fact that it's a flower. It's more about what that repetitive motif implies.
The idea of actually taking sharp turns left and right has always intrigued me, but I've never really been bold enough to do that. As musicians go, I've allowed myself to be carried by other people's enthusiasm into places where I've learned a lot. There is no real tumult anymore. What I want to do, I do! I'm pretty fortunate.
I'm intrigued by the classic Greek tragedies, as well as by the idea of the Greek chorus.
I never want to play down to the reader. I think readers are willing to go along if they're intrigued.
I think there's no question that historians create; they would tell you that, I think. If I'm trying to imagine an imperial Roman position, it's much easier to imagine the poor schlub who's not even sure why he's doing what he's doing than it is to imagine Caesar. At least for me. And I'm intrigued, too, by the position of the poor schlub who *still* finds himself supporting the imperial project.
Milton on speed. I am going to need about a decade to think about that. That delay in syntax, the putting off of the click of the sentence into itself, is something that has always intrigued me. I love the emotional effect of it, and never want it to be merely a gesture. Sometimes I try it and it doesn't work, so I have to put the poem aside, and try again, more simply and more strange.
I am intrigued and even moved by the idea of being right with the reader in the actuality that she or he is reading a poem. So the titles are an acknowledgment of the reality and value of that act in the world.
I didn't grow up as a religious person under any sort of system or anything like that, I just felt like I've always been sort of intrigued by that - how it can make people's lives better - I mean, it's a powerful thing. So I was interested in thinking about that kind of stuff.
I do not know whether to be delighted or outraged by the fact that Literary Theory: An Introduction was the subject of a study by a well known U.S. business school, which was intrigued to discover how an academic text could become a best-seller.
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