Moving Quotes - Page 450

Don't look at the downside of everything that comes along. It helps life move along so much smoother and nicer.

What is enthralling and illuminating about The Metaphysical Club is its portraits of individuals and their milieus. Menand is wonderfully deft at evoking a climate of ideas or a cultural sensibility, embodying it in a character, and moving his characters into and out of one another's lives. What might have been a jumble of intellectual movements and colorful minor figures (...) is instead a subtle weave of entertaining narrative and astute interpretation.

You go to the marketplace and there are seventeen consciousnesses moving in and out. Sometimes you want the same shirt that I want, and our thought bubbles collide a bit and that makes plot.

One lesson I learned the hard way, early in my career, was that if I tried to write to be smart or to convey a theme or from some existing plan, the result was usually pretty boring. My intuitive move, whenever I'm considering writing something, is to steer towards what feels enjoyable. Another way of saying it is, you just try to avoid the "sucky." If you start to think of a story and a way to tell it, and your reaction is kind of like, Ugh, that's going to be hard, then you don't want to do that.

I think something that I can't name about our media has made us move away from that kind of specificity and that kind of curiosity.

The mind is a machine that is constantly asking: What would I prefer? Close your eyes, refuse to move, and watch what your mind does. What it does is become discontent with that-which-is. A desire arises, you satisfy that desire, and another arises in its place.

It is quite wrong to think of old age as a downward slope. On the contrary, one climbs higher and higher with the ad-vancing years, and that, too with sur-prising strides. Brain-work comes as easily to the old as physical exertion to the child. One is moving, it is true, towards the end of life, but that end is now a goal, and not a reef in which the vessel may be dashed.

Speak the name, and death will come. On the morrow, at the turn of the moon, a year from this day, it will come. A man does not fly like a bird, but one foot moves and then another and one day a man is there.

Time is different for a tree than for a man. Sun and soil and water, these are the things a weirwood understands, not days and years and centuries. For men, time is a river. We are trapped in its flow, hurtling from past to present, always in the same direction. The lives of trees are different. They root and grow and die in one place, and that river does not move them. The oak is the acorn, the acorn is the oak.

I still read a lot about teenage angst! Of course, any kind of mourning CAN become pathological and then it 'has to stop', but to move through life untouched by the loss of hopes, beliefs and aspirations once cherished is also questionable.

In the best farce today we start with some absurd premise as to character or situation, but if the premises be once granted we move logically enough to the ending.

We can help people. We have got to move this economy from its over-dependence on debt. People should have manageable debts, a manageable mortgage.

I have done everything I can to move Britain out of the financial danger zone.

One big theme for me is that we have got to move from an economy built on debt to one where we save and invest in the future.

On each landing, opposite the lift shaft, the poster with the enormous face gazed from the wall. It was one of those pictures which are so contrived that the eyes follow you about when you move. BIG BROTHER IS WATCHING YOU, the caption beneath it ran.

Earth, the mother of all, Moves on her stedfast way, Gathering, flinging, sowing. Mortals, we live in her day, She in her children is growing.

I think crossing into the digital age is the big move for the industry. I think it will be the biggest thing that's happened while I've been making movies. I equate it to the invention of color or sound, and I don't see any other major technical process coming along and changing that.

I'd be the first person to say I can't write dialogue. My dialogue is very utilitarian and is designed to move things forward. I'm not Shakespeare. It's not designed to be poetic.

I’m moving away from the business, from the company, from all this kind of stuff.

Film is a very tight little box. If you don't fit in that box, you're gone. Television, there's more room to move around.

On the professional side, I've helped move cinema from a chemical-based medium to a digital-based medium. That'll be one of the landmarks. And I've left these stories, these little tales that have been imprinted on the media, which will or will not be of interest to people in the future. I've done the best I can.

Everybody has talent and it's just a matter of moving around until you've discovered what it is. A talent is a combination of something you love a great deal and something you can lose yourself in - something that you can start at 9 o'clock, look up from your work and it's 10 o'clock at night - and also something that you have a talent, not a talent for, but skills that you have a natural ability to do very well. And usually those two things go together.

The mathematician who is without value to mathematicians, the thinker who is obscure or meaningless to thinkers, the dramatist who fails to move the pit, may be wise, may be eminent, but as an author he has failed.

Krishna consciousness was especially good for me because I didn't get the feeling that I'd have to shave my head, move into a temple, and do it full time. So it was a spiritual thing that just fit in with my life-style. I could still be a musician, but I just changed my consciousness, that's all.

For years after Lydgate remembered the impression produced in him by this involuntary appeal-this cry from soul to soul, without other consciousness than their moving with kindred natures in the same embroiled medium, the same troublous fitfully-illuminated life.