It cannot but be injurious to the human mind never to be called into effort: the habit of receiving pleasure without any exertion of thought, by the mere excitement of curiosity, and sensibility, may be justly ranked among the worst effects of habitual novel-reading.
Nobody is here without a reason. I always had a different sensibility. I like a huge range of comedy - from broad and farcical, the most sensitive, the most understated - but I always wanted my comedy to be more embracing of the species rather than debasing of it.
I want people to see my movies. My talent, my sensibilities are what people want to see in the movies... While I have the talent to make the kind of movies people want to see I want to continue to do that, keep making big pictures and make what I love. I’m really just making the films I want to see. There’s not a strategy.
Anyone who has the kind of inventive and inspired comic sensibility to be able to do that kind of work must be pretty talented.
When I started doing improvise music in Europe, in the beginning I thought the way that Europeans were interpreting the reconstruction of deconstruction of this thing that we call jazz - of course it's different than what Americans do, because Europeans have a different history, a different sensibility and so forth - the nature of the creative process itself it's the same; but what comes from that creative process is different, because you have a different history, you have a different society, different language.
If we were built, what were we built for? ... Why do we have this amazing collection of sinews, senses, and sensibilities? Were we really designed in order to recline on the couch, extending our wrists perpendicular to the floor so we can flick through the television's offerings? Were we really designed in order to shop some more so the economy can grow some more? Or were we designed to experience the great epiphanies that come from contact with each other and with the natural world?
The only thing that does change, to some degree, is [that] you have some life experiences, you suffer a certain amount and you incorporate that into your work. Not in the content of your work, but in the sensibility of your work. It's nothing that you try and do; it just happens. And if you're lucky, people buy tickets to see it, and if you're not lucky, [then] they don't like it. But that's all.
You're not going to stay in business, the business of making movies very long because you need the resources in order to keep going. So you have to try and find a niche audience or some kind of audience that has the same likes, dislikes and aesthetic sensibilities that you have.
Comedy is more difficult than drama. I think it's really difficult to make someone laugh because people have very different comedic sensibilities. In drama, you can get away with being a great actor and surrounded by great actors and having good writing. But in comedy you have to listen and you have to perform with a certain rhythm, because if you don't, it's like playing a wrong note in the orchestra and you can hear the off key and it will fall flat and you won't get that instant response.
Women have always had equal importance onstage, and working with them must have altered my sensibilities. I've never felt sensitive to the whole issue, because being macho has never been a problem with me.
I don't think science is necessarily incompatible with mystical or spiritual sensibilities. I often weigh them equally in my thinking, which sometimes finds itself into the work.
I think that the response to the OJ Simpson trial was based on a kind of sensibility that emerged out of the many campaigns to defend black communities against police violence.
Your inspiration is better if it comes from many different sources and your sensibilities will transform all those influences and inspiration into your own visual world. It's like reading the book instead of watching the movie.
You can tell when women have a sensibility about, or a sense of bravery or a sense of understanding about their personal style that's outside of what you see from a magazine.
Generally I wouldn't accept work on projects where I didn't agree with the sensibilities behind the main character.
It's different obviously with a song when you're talking about narrative, you're talking about the verse leading into the chorus or whatever it is, but you have to have a sensibility of how something would flow either way.
I'm not just interested in the thoughts I have, but also in others' thoughts, and why not carry those forward? That's why American fiction can be so thin. All these fears, like not seeming to be original - I mean, hell, most stuff isn't. The question is whether you can articulate your thoughts for the moment in which you're living, which is a different time. Say them in a newer way. There are new events, and language changes - sensibilities change. We are writing in and of the time we're in. Oh, it's a weird time.
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