Ideas Quotes - Page 529

I would not be as married to locations and ideas, when I show up in the city that I'm actually going to shoot it in. You really have to roll with it. That perfect thing you have in your head just isn't going to be there sometimes, and you have to figure out what you're going to do, if you can't find it.

We learn more about how human brains work. And that leads us to ideas about how to make human brains work better.

It was like there was a pile of kindling that was in the back of my imagination just waiting there. Once I lit it, it just flared up and I kept getting ideas and ideas.

I really like the idea of music when it has form and then sort of loses its form, or becomes noise, and then comes back again... That's how I think of it: structure turning into noise and coming back around again.

That is a noble idea, though I think it far to generous," Jupiter said. "Once a decade should be sufficient." "I would rather be too generous than not in such cases." "As you wish." [One day, Atticus was amazed to discover that when Jupiter said, "As you wish," what he really meant was "I love you."]

When you take action on ideas and tactics you will begin to uncover great potential and begin to unleash it for the betterment of yourself, your organization and the world.

I hate the idea that we might lose even a few talented future leaders because they fell for Bernie Sanders's spiel and then got discouraged when it didn't pan out.

A lot of it is just waking up and putting one foot in front of the other and going where I just go, a natural progression. The other thing is I do have a lot of ideas. TV seems to be where it happens faster, quicker. You are trying to get a movie off the ground, and it's very difficult. One movie takes two years to make

I am a joyful conservative, unafraid to articulate big ideas with an optimistic smile.

If I can convince people that their idea is great, and know inside that their idea was actually a little my idea, then I feel okay. I don't feel too douchey.

I felt as if I was the brunt of some massive joke at my expense: Can you believe this loser can be connected to Marlon Brando and Katharine Hepburn? But through the years I have learned to tolerate and sometimes embrace the idea. People have asked me if I consider it an honour. Well, all it indicates is that I've been in a lot of movies with a lot of people. And besides that there are plenty of other actors that would work.

Saying "no" has more creative power than ideas, insights and talent combined.

I think in society and especially in movies and media we're fed this idea that there's the one or the right person. I think it brings great ambiguity and confusion for people.

From what I've been told, the scariest part of being part of a domestic abuse relationship is the idea that you cannot escape and you cannot get help, that feeling of being stuck.

I write when I have to; I write when the song is done and I deal with the idea and I just go with it and I'll become what that song is all about until I have finished it. And when you do that, it makes the song more visual, it makes it more personal.

Some form of gnosis or immediacy is attached to all thinking as its root-form or primitive origination; every act of thinking has this passive derivation, this coming-into-being of thinking not out of nothing (as it likes to imagine) but out of some unthinkable something. But the most self-abstractivist or self-reductivist kind of thinking cannot tolerate even the notion (much less the traumatic experience or confrontation) of an incurable pathos, a weakness or blind-spot, within consciousness. The very idea is an insult to the autonomy or self-determinability of ego/will/reason.

The approach of intellect or noesis will forever be an effete and limited sort of thing by contrast with the vigor and color of gnosis; but in academia there is virtually nothing but noetic minds to be found, and the very idea of gnosis is alien and untranslatable, not to mention discreditable.

I wanted to be a director first to protect my writing. I'm a playwright and you don't need to protect your writing when you're in the theater because everyone's there to protect the writing. When I had an idea for a film that I really cared about as my own, I wanted to direct it, and then I immediately became interested in directing in and of itself because it's such a deep art. You suddenly have all these tools at your disposal to tell the story.

When you get an idea, go and write. Don't waste it in conversation.

I don't have a readership, I have a thinkership. I guess this is why what I do is called "conceptual writing." The idea is much more important than the product.

One advantage of exhibiting a hierarchy of systems in this way is that it gives us some idea of the present gaps in both theoretical and empirical knowledge. Adequate theoretical models extend up to about the fourth level, and not much beyond. Empirical knowledge is deficient at practically all levels.

Those who wish, in the interest of morality, to reduce Leonardo, that inexhaustible source of creative power, to a neutral or sexless agency, have a strange idea of doing service to his reputation.

You have no idea what portrait painters suffer from the vanity of their sitters.

I wanted to have a place and a space, and a building, in which to create a season of work I am here because the idea of a theatrical home is very appealing to me

I don't feel one could even remotely touch the idea of intimidating others, but because I've understood the other side of the experience, I will occasionally, if I smell that could even be in the air for a few minutes, say to the director, "Please, you must tell me anything you want. Please say all the things you think might be terribly hurtful like, 'That was boring.'"