Moving Quotes - Page 347

I noticed you the first week. Not just because of how pretty you are, though of course, that played into it. It was the way you lean onto your elbows when you 're listening in class, when something catches your interest. And when you laugh, it's never to get attention, it's just-laughter. The way you obssevively tuck your hair behind your ear on the left side, but let the right side fall down like a screen. And when you 're bored, you tap your foot soundlessly and move your fingers on the desktop like you 're playing an instrument. I wanted to sketch you.

Palestinians have been banned since forever. And nobody - and it's an unhuman act, and it's a - for me, it's a crime issue. So, nobody has punished Israel ever since they were banning Palestinians. And so, Israel right now feels the power that they can just move on with it, and now they are trying to ban other people that are not Palestinians.

There's this sort of migration west at the moment, a sort of energy that's definitely moving to LA.

I had to put the company through a reorg, raise a new round of financing, and sort of press the restart button. But my feeling was that I wasn't going to be bullied. I wasn't going to let them take me down. I had to pull myself together and move forward.

Moving to the forefront of advanced nations is not a choice but a national duty. This requires, among other things, erecting the best industrial property protection systems despite all challenges, particularly in the transition phase that we must endure.

The foremost challenge is that of the knowledge revolution. Economic power will depend on creativity and innovation. Creation of wealth will move from traditional resources to the one asset: knowledge.

I believe you shouldn't force the audience's interpretation of a character or a story. The more you explain things, the less intriguing and imaginable they are for viewers. . . . Film to me, in its essence, in its ultimate nature, is silent. Music and dialogue are there to fill what is lacking in the image. But you should be able to tell the story with moving pictures alone. For my next project, though, I'd like to make the kind of film where the characters blabber all the time.

I always walk around with a few moves in my pocket. You never know when you may need to bust one out.

Move to a new country and you quickly see that visiting a place as a tourist, and actually moving there for good, are two very different things.

If I move, if I speak, if I so much as blink, I'm going to lose this battle.

You cannot undo the past; you can only learn to live with it, find some way of making peace with it, and move on.

Corporations use all sorts of complex stratagems to move their profits overseas, and thus escape the U.S. income tax.

The higher the rate, the more interest there is in avoiding the tax. Either you move or you shift your profits overseas, as American corporations have proven very good at doing.

You also get a deduction in America for taking a night school course, growing sugarcane, moving to a new city for a job, replanting a forest, insulating the attic, destroying old farm equipment, employing Native Americans, commuting to work by bicycle - but only if the bike is regularly used for a substantial portion of travel - or buying a plug-in hybrid sports car, or buying a recreational vehicle. I mean there are hundreds of them, and most of them are nuts.

You don't write the kitchen scene just because you're eager to do it that day and you're avoiding something else. I think it has to move slowly, step by step. I pride myself on the construction of my stories but it's not something I impose on them.

They [my stories] evolve. If they're tightly constructed, it's because they're revised constantly as I move forward each day. That's where the structure inheres. It's all organic.

Nothing moves around, it just goes straight from the start to the end. The final draft on the final day, that's it, same for the novels. What I turn in is what you see. There are some exceptions, but almost always I can see exactly what it's going to be.

If you want to be a stand-up comedian or an artist, you move to New York.

The lyric abstrusities of Auden ring mystically down the circular canals of my ear and it begins to look like snow. The good gray conservative obliterating snow. Smoothing (in one white lacy euphemism after another) out all the black bleak angular unangelic nauseous ugliness of the blasted sterile world: dry buds, shrunken stone houses, dead vertical moving people all all all go under the great white beguiling wave. And come out transformed. Lose yourself in a numb dumb snow-daubed lattice of crystal and come out pure with the white virginal veneer you never had.

I want to force myself again and again to leave the warmth and security of static situations and move into the world of growth and suffering where the real books are people's minds and souls.

What makes you push the shutter has to do with seeking a kind of perfection, a harmony in the world. You are instinctively aware it's there, but you've got to be completely alert and quick and so deeply awake that it moves you.

The opportunity that is unique [to our] time is what inspires me to do everything I can to move things forward. This is the first time that we have the capacity to understand our place in the greater scheme of things to the extent that we do.

Now I'm hot and bothered, and wondering why my new neighbor isn't putting the moves on me." "Maybe he doesn't want to push you too far, too fast and scare you off." Gideon's eyes glittered in the light of the television. "Is that so?" He nuzzled his nose against my temple. "If he has half a brain, he'd know not to let you get away." Oh... "Maybe I should make the first move," I whispered, wrapping my fingers around his wrist. "But what if he thinks I'm too easy?" "He'll be too busy thinking he's damned luck.

The gap between the inner and outer self is one I've found interesting, even essential, about the way we move through the world. In The Delivery Room, I enjoyed traveling back and forth between the perspectives of the patients and that of the therapist - with the irony that with your therapist, you are at least supposed to be your most authentic self.

Motion is always a relative thing. I move in relation to something else. Any particle in this universe can change in relation to any other particle; but take the whole universe as one, and in relation to what can it move? There is nothing besides it. So this infinite Unit is unchangeable, immovable, absolute, and this is the Real Man.