Adapting old programs to fit new machines usually means adapting new machines to behave like old ones.
People want what’s best for them, and they can switch on a dime, because there’s always a new disruptor disrupting the last disruptor. So companies should just strive to keep changing and adapting to their customers’ needs.
If you accept failure as learning, it's not discouraging to keep adapting until you find success.
So with 'There Will Be Blood,' I didn't even really feel like I was adapting a book. I was just desperate to find stuff to write.
The talk you hear about adapting to change is not only stupid, it's dangerous. The only way you can manage change is to create it.
Eventually, humans invented agriculture, which could be understood as a way of turning the natural world into a tool for our use. There's evidence that we have been domesticating crops and animals for at least 15,000 years, adapting ecosystems to our preferred way of life.
I do preach the idea of individualism as in not adapting any kind of style or model other than that one of your own. I always found it strange in art history when studying about the different guilds and movements. It sounded too contrived and having to follow devised parameters to create art. I personally am not a team player in that manner. The art should be labeled by the artist's name only.
When I was a child, my parents taught a literal creation. By the time I was in my 20s they were accommodating evolution. In other words, less creed, more roll with changing ways of seeing. Maybe adapting is a better way to see this.
The business plan should address: "How will I get customers? How will I market the product or service? Who will I target?" The principles of a business plan are pretty much the same. But after page one to two, everything is unpredictable, because costs or competition will change and you don't know how things will be received by the market. You have to be able to continually adapt. Companies that fail to adapt will die. Others are brilliant at adapting.
I'm concerned that young people, far too often, abdicate their responsibilities of learning and adapting and give that over to people who may not always have their best interests at heart.
We must only learn that independence cannot be gained by a rebellion against the constitution of the universe, or by inverting the laws of life and evolution, but by comprehending them and adapting ourselves to the world in which we live.
Human creatures have a mervellous power of adapting themselves to necessity.
Without a conscious life-purpose a man is totally lost, drifting, adapting to events rather than creating events. Without knowing his life-purpose a man lives a weakend, impotent existence, perhaps even becoming even sexually impotent or prone to mechanical and disinterested sex.
To tell you the truth, I'm not unhappy about it. I'm not even sure that I like the idea of adapting novels into films. It's very difficult to do, and it usually doesn't work. There are exceptions, but generally speaking, one feels disappointed with the result.
I feel like I'm adapting to society. I went feral a little bit. I found that when I would get back to the city, if there was any second-guessing about stuff, it would happen.
Comic books, if you're adapting a comic book - like X-Men, for example - you've got 40 years of amazing stories to dig into, things that incredible artists have been thinking about for decades.
Man, whatever else he may be, is primarily a practical being, whose mind is given him to aid in adapting him to this world's life
Because [writers] Dan Weiss and David Benioff have done such a great job in adapting them, that's what we work with. It serves no purpose to anybody for actors to come onto a set with a well-thumbed copy of the source material and start querying why this or that line has been left out of the script. It's probably been left out for a good reason.
By the time I was doing "Kill Bill," it was so much filled with prose that, you know, I start seeing why people write a screenplay and make it more like a blueprint, because basically I had written - in "Kill Bill," I had basically written a novel, and basically every day I was adapting my novel to the screen on the fly, you know, on my feet.
I felt that there were so many things that could go wrong, in adapting The Hunger Games , and I had this fierce desire to protect this book that she had written. At that time, I read the second book, in manuscript form, and so I saw where she was going with the series. I was able to convince Suzanne [Collins] to trust me with the books.
If you're writing a screenplay from scratch, it involves a lot of creation. In this play, I had a strong main character and it involved some creation around him. That's what I like about adapting that particular play because I added some maneuvering space as a scriptwriter to invent my own things.
We've never pulled from the toy line. We've always pulled from the mythology. What's great is there's so much mythology, so there's always stuff to pull from that. It never lines up perfectly for a movie; it's just like adapting a book or anything else, you know? But you come up with things to create, you come up with different ideas, but fundamentally the ideas always start from the mythology.
It becomes 'one's own' only when the speaker populates it with his own intentions, his own accent, when he appropriates the word, adapting it to his own semantic and expressive intention. Prior to this moment of appropriation, the word does not exist in a neutral and impersonal language (it is not, after all, out of a dictionary that the speaker gets his words!), but rather it exists in other people's mouths, in other people's contexts, serving other people's intentions: it is from there that one must take the word, and make it one's own
There are definitely recurring themes in humanity's relationship with our environment. The biggest is probably adaptation, because humans are incredibly good at adapting to new environments in relatively short periods of time. The ancestors of Homo sapiens started leaving Africa over one million years ago, moving from warm, tropical climates into the freezing wilderness of Europe and the desert ecosystems of the Middle East.
It's one of those things where the book has all these stars that burn really bright that you hang onto and they're all saying, 'This is The Girl on the Train experience.' All those stars or hooks needed to be in the film, but sometimes they needed to be a bit different. It's important when adapting such a popular book to hit all those points but also break out expectations without slaughtering the book. And that was, for me, the joy of adapting the book.
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