If someone tells you that George Bush is not the 43rd president of the United States, they might be engaged in wishful thinking, or denial, but if they make that claim, it's either true or false! And you can assess that, regardless of whether there's an omniscient narrator, or an unreliable narrator, or it's shot in vérité, or it's manipulated, it's agitprop, whatever! It makes no difference! It's a style!
I'm fortunate to be able to draw in different styles, but each style demands another approach from the previous.
In stating as fully as I could how things really were, it was often very difficult and I wrote awkwardly and the awkwardness is what they called my style. All mistakes and awkwardness are easy to see, and they called it style.
I might say that what amateurs call a style is usually only the unavoidable awkwardnesses in first trying to make something that has not heretofore been made. Almost no new classics resemble other previous classics. At first people see only the awkwardness. Then they are not so perceptible. When they show so very awkwardly people think these awkwardnesses are the style and many copy them. This is regrettable.
People make excuses [for not wanting to fight me]. It has a lot to do with my style. I'm a crafty fighter but I can also punch.
When you can take something that is a reject at the thrift store sitting on the bottom of a pile of junk and make it work, make it look interesting, that's real style to me.
I don't like precious things; I don't spend thousands of dollars on jewellery for myself. I like going into a junk store and finding something for five dollars. That's my style.
My style is simple, kinda girly, but with a bit of an edge.
I'm an actor/singer who moves well... sometimes. I'm actually a great mover but not every style fits my body and a dance call back is my worst nightmare.
I play hard and aggressive. I don't lay out the huge body checks because it's not really the style I play. But I love to be around the net and love battling corners and trying to dish pucks out.
My mother and my grandmother would make an apple tart in different styles, and I had one per day. Every day I would eat one full apple tart.
After watching my first World Series in 1977, I wanted to be Reggie Jackson. I bought a big Reggie poster. I ate Reggie candy bars. I entered a phase during which I insisted on having the same style of glasses Reggie had: gold wire frames with the double bar across.
My style is more moi-centric.
The minute you try to do something that is not true to you, is not something that you really know about, and is not a lifestyle or world that you live in or can relate to, it's going to come off as false.
I love the silhouettes of the '50s that were feminine and womanly without being too revealing. I've always gravitated towards that kind of sense of style and fashion.
I'm lucky that I've worked with so many different directors with very different styles and with a lot of different actors.
It's very hard to describe your own style. And I'm young, so I'm still experimenting. But I think it's quite British and very much about individuality.
I'm really inspired by British style, like Kate Moss and Sienna Miller.
Infinite was me trying to figure out how I wanted my rap style to be, how I wanted to sound on the mic and present myself. It was a growing stage. I felt like Infinite was like a demo that just got pressed up.
Fashion is for women without style.
To conform within rational limits to a given style is no more servile than to pay one's taxes or to write according to the rule of grammar.
Translated books rarely get reviewed in the press. Books or poems or works of art that don't seem to have a corresponding style or figure or theme, obviously they're hard to digest.
In translation studies we talk about domestication - translation styles that make something familiar - or estrangement - translation styles that make something radically different. I use a lot of both in my translation, and modernism does both. For instance, if you look at the way James Joyce presents Ulysses, is that domesticating a classic? Think of it as an experiment in relation to a well-known text in another language.
All talk of method and style seemed suddenly trivial; I became interested in meaning. I wanted to say something musically about life and living.
I always look at Style.com and look at all the designers and I know all the model's names.
