I kind of take Hilary as a role model because she started out at about the same age. She hadn't done much before starting her series, and I haven't either.
A series of powers are at work within the great stream of Expressionism who have no outward similarity to one another but a common direction of thrust, namely the intention to give expression to things of the psyche [Seelisches] through form alone.
Every movie has its own unique series of challenges.
Being of tall stature, it's rare to get a series regular role.
Population trends have always provoked doom-fraught oracles, because their popular interpreters suppose that every new series will be infinitely sustained; yet, beyond the short term, expectations based on them are never fulfilled.
It would be naïve to imagine that any analysis of experience is dependent on pattern expressed in language. Any concept, whether or not it forms part of the system of grammatical categories, can be conveyed in any language. If a notion is lacking in a given series, it implies a different configuration and not a lack of expressive power.
Our mind, by virtue of a certain finite, limited capability, is by no means capable of putting a question to Nature that permits a continuous series of answers. The observations, the individual results of measurements, are the answers of Nature to our discontinuous questioning.
Those of us whose parenting style can be described as "a series of reflexes, instincts, and minute-by-minute adjustments," as Julie of A Little Pregnant puts it, rather than as a philosophy, are less invested in our own practices. What we do is often less a matter of conviction than one of convenience. What we need to remember is that there is no need to apologize for that, even in the face of the most red-faced outrage.
The first thing I ever thought of when I thought of Buffy , the movie, was the little...blonde girl who goes into a dark alley and gets killed, in every horror movie. The idea of Buffy was to subvert that idea, that image, and create someone who was a hero where she had always been a victim. That element of surprise ... genre-busting is very much at the heart of both the movie and the series.
[A]t the beginning of November 2001, there was a series of meetings between White House advisers and senior Hollywood executives with the aim of co-ordinating the war effort and establishing how Hollywood could help in the "war against terrorism" by getting the right ideological message across not only to Americans, but also to the Hollywood public around the globe the ultimate empirical proof that Hollywood does in fact function as an "ideological state apparatus.
From the summer of my twelfth year I carry a series of images more vivid and lasting than any others of my boyhood and indelible beyond all attempts the years make to erase or fade them.
It is also naïve empiricism to provide, in support of some argument, series of eloquent confirmatory quotes by dead authorities. By searching, you can always find someone who made a well-sounding statement that confirms your point of view and, on every topic, it is possible to find another dead thinker who said the exact opposite.
There should be a drama series about women trying to figure out their mystery leg bruises.
You know, not every good book needs to be a movie, or a television series, or a video game. There's great work in those mediums, of course, but sometimes a book should remain a book. I still believe nothing tells a story with the richness and complexity of a good novel. When people say they think a book would make a good movie, they say this sometimes because, if it worked, they already saw all the images in the movie theatre that is in their brains. And sometimes that is the way it should stay.
The NFL has a hard cap, but if you ask 20 NFL experts who is going to win the Super Bowl this year, you might get 20 different answers. If you then asked 20 baseball experts who is going to represent the American League in the World Series, at least 90 percent of them would say the Yankees and the rest would say Seattle.
I was motivated by the fact that I wasn't happy with my play in this series and felt accountable to the guys. That's enough motivation to want to play well.
Life is a series of sudden disappearances, leave-takings without the proper goodbyes.
Outside the firm, price movements direct production, which is co-ordinated through a series of exchange transactions on the market. Within a firm, these market transactions are eliminated and in place of the complicated market structure with exchange transactions is substituted the entrepreneur-co-ordinator, who directs production.
...evolution is the gradual development and stratification of progressive series of wholes, stretching from the inorganic beginnings to the highest level of spiritual creation.
Consciousness is a singular of which the plural is unknown. There is only one thing and that which seems to be a plurality is merely a series of different aspects of this one thing, produced by a deception, the Indian maya, as in a gallery of mirrors.
Is it possible to have an endless series of successes without falling on our faces? I suppose it is, but I think it would entail doing the same things over and over again without taking chances, without taking risks or exploring our limits, without finding out what we can and can't do.
in serial music, the series itself is seldom audible... What I'm interested in is a compositional process and a sounding music that are one in the same thing.
If... [Alban] Berg departs so radically from tradition, through his substitution of a symmetrical partitioning of the octave for the asymmetrical partionings of the major/minor system, he departs just as radically from the twelve-tone tradition that is represented in the music of Schoenberg and Webern, for whom the twelve-tone series was always an integral structure that could be transposed only as a unit, and for whom twelve-tone music always implied a constant and equivalent circulation of the totality of pitch classes.
With Batman&Robin, the fourth entry in the recent Batman movie series, the profitable franchise appears poised to take a nosedive. This film, which places yet another actor in the batsuit, has all the necessary hallmarks of a sorry sequel - pointless, plodding plotting; asinine action; clueless, comatose characterization; and dumb dialogue. Batman&Robin moves at a dizzying pace, yet goes absolutely nowhere.
Live Free or Die Hard may work better for an audience that doesn't know much about the series is than it will for Die Hard die hards, who will be wondering who that impersonator is and what he did with the real John McClane. The original Die Hard came out of nowhere to blitz the 1988 summer box office. The fourth installment arrives with a weight of expectations that Atlas would have trouble shouldering and, when the dust settles in September, it's unlikely that Live Free or Die Hard will be one of this year's big success stories.
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