In the middle years of childhood, it is more important to keep alive and glowing the interest in finding out and to support this interest with skills and techniques related to the process of finding out than to specify any particular piece of subject matter as inviolate.
In a battle, as in a siege, the art consists in concentrating very heavy fire on a particular point. The line of battle once established, the one who has the ability to concentrate an unlooked for mass of artillery suddenly and unexpectedly on one of these points is sure to carry the day.
As a dancer, I know couples that have stayed married but separated to dance on different continents. Dance in general, but ballet in particular, is such a finite career. You can't do it later in life, and it's something that I think a dancer has to have some selfishness to fulfill.
God has become human. The absolute has become particular. The ideal has become real. The divine has taken up a human nature.
But I give best when I give from that deeper place; when I give simply, freely and generously, and sometimes for no particular reason. I give best when I give from my heart.
In short, if you have any question about whether a particular movie, book, or other form of entertainment is appropriate, don’t see it, don’t read it, don’t participate.
When I hear the words 'activist filmmaking,' I think of somebody who's an activist, who wants to prove a particular point.
I spoke at TED Global 2010 about the ways that video games engage the brain, and in particular, the idea of reward structures: how a challenge or task can be broken down and presented to make it as engaging as possible.
Jekyll and Hyde, in particular, is such an important novel in terms of suspense and setting a perfect scene for crime
There is something about being a director where, for me personally, I get to . . . it's the closest I'll ever come to being able to be a stand up. And to use my particular sense of humor, and hear people laughing, without me having to stand up in front of an audience and tell jokes.
We live within this reality we create, and we're quite unaware of how we create the reality. So the work is often a general koan into how we go about forming this world in which we live, in particular with seeing.
One particular debate that I have seen play out again and again is whether trans people who have more traditional gender expressions or who "pass" more should be the ones who are represented. A recent advocacy guide focused on advocating around trans health care access produced by the largest trans advocacy organization in the US instructs readers that advocacy will be more successful if the message is delivered by people who pass as non-trans men and women.
I'm not a writer who's preaching some particular philosophy or something but the big questions do concern me and I like to make my readers think and debate and argue with each other and look at some aspect of the world or some act of governance or war or power and have an angle they haven't considered before, and that's something I strive for and hopefully have accomplished.
The most important lesson I think I could impart is don't let anyone determine what your horizons are going to be. You get to determine those yourself. The only limitations are whatever particular talents you happen to have and how hard you're willing to work. And if you let others define who you ought to be, or what you ought to be because they put you in a category, they see your race, they see your gender and they put you in a category. You shouldn't let that happen.
My norm for watching scary movies, what I love about it, is when they work and they scare me, which is not that often I'm afraid. The more you know the genre, your taste becomes a little more rarefied and you take a very particular route to the type of movies you like in the genre. But I still get scared.
I think people often underestimate the power of consumers. But I equally say that consumers are like shock troops: You can't keep them agitated and motivated and committed and active forever. There are pulses where they switch on to a particular issue, and just inevitably they switch off.
It's interesting for me to do the commentary with the actors because, as a director, you're so in your own world that you see it from your perspective, your issues and what you were trying to do, and then it's really very fun to hear their perspective on how it was to do a particular scene or how they felt, and sometimes, I didn't even know that, at the time.
The drive to want to know is innate in people. You cannot influence this. I think in contrast it is harmful if you push kids too far in a particular direction.
I was a very senior minister in the Howard government and I sat around this particular table [in the prime ministerial office] in many discussions. The difference between being a senior minister and the prime minister is that ultimately the buck does stop with the prime minister and in the end the prime minister has to make those critical judgement calls and that's the big difference.
I tried to, from my very early years, I've been an inveterate movie goer and still am and I, I love the medium. So what I, what I draw and what I'm still doing, is part of that particular orientation.
Expose a child to a particular environment at this susceptible time and he will perceive in the shapes of that environment until he dies.
Comedy today is not what it was years ago. It's always changing, in particular to female comics. No longer are certain subjects considered to be a male preserve. Women can talk about sexuality and their bodily functions and it can be very, very entertaining. It's changed the impact of comedy acting.
A lot of people saw Marilyn Monroe and Judy Garland as persecuted and tragic and vulnerable, and I think a lot of gay men feel that way because of their particular predicament in society and not being accepted completely.
Do not to take everything personally or so seriously, because sometimes you're just not right for a particular job. You have to be able to take rejection quickly and honestly, know what you need to work on, and move on.
As a means of supporting experiential element in film, once I begin to work on a particular movie I consider myself to be the tool of the director.
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