I'm saying is that I hope that you drill in with the same detail with his [Donald Trump] team as you're drilling in with ours.
What's great about it is that painting doesn't move. And so in the 21st century, when we're used to clicking and browsing and having constant choice, painting simply sits there silently and begs you to notice the smallest of detail.
That's what I think my job in the world has been, is to sort of try to sit silently a bit and watch it all sort of move and see those small, quiet details, whether it be a small village outside of Colombo [country?] or the favelas of Brazil, where, again, resistance culture is something that you hear resonating in the streets of South Central Los Angeles as well.
Many Syrians understand that the only way to protect your country is to live with each other with integration, not only in coexistence, which is actually more precise to call cohabitation, when people interact and integrate with each other on daily basis in every detail. So, I think in this regard I am more assured that Syria will be more unified. So, the only problem now that we face is not the partition, but terrorism.
The financial disclosure statements, they don't give you the tax rate. They don't give you all the details that tax returns would.
The incident itself happened in London, but because we were all based at the time in Los Angeles we moved it there. Certain details are almost exactly like the true experience, but we decided to make the film more of a thriller, in the hope that it would reach a bigger audience. That's why it's called "Selling Isobel" and not "Selling Frida." We didn't want to make a dark, depressing "movie-of-the-week."
On a very technical level, I am a geek who is interested in the intricacy of rhythm playing, so I like comparing and working out its details.
I was interested first of all in trying to capture this myth that was always changing and to create some sort of a master story, some version of the myth that resonated with me, since I could have taken more or less any detail that I wanted or the opposite and try to put that down on the page in a way that I could express from that outset for myself and for our readers what it was that was so magical about [Buckminster] Fuller's way of putting together the world.
One influential philosophical position about the use of probability in science holds that probabilities are objective only if they are based on micro-physics; all other probabilities should be interpreted subjectively, as merely revealing our ignorance about physical details. I have argued against this position, contending that the objectivity of micro-physical probabilities entails the objectivity of macro-probabilities.
For example, because I'm a lapsed geologist, I followed the eruption of Icelandic volcano Eyjafjallajökull in 2010 in great detail, amassing a huge number of links to news articles, blog posts, scientific papers, web cams, video and photos. That archive came to the attention of Chatham House, and they then commissioned me to research the way in which the media responded to the ash cloud crisis. I think that's the only time that my degree and my career have fully intersected, and it really was a lovely moment!
Working with people you adore and love. There's just a sense, all the way through all of the movies [Planet of Apes], that you're very rarely in a position where you have great material that you're passionate about and a big audience who love it, and the detail and nuance, and the exquisiteness of the fantastic actors and director with great writing.
I also grew to love Nancy Reagan in a certain way. I learned more - certainly I learned more bad stuff that I had known about in greater detail, but I also got a lot of empathy.
In early 1999, I was watching TV, when I came across a story on Afghanistan. It was a story about the Taliban and the restrictions they were imposing on the Afghan people, most notably women. At some point in the story, there was a casual reference to them having banned the game of kite fighting. This detail struck a personal chord with me, as I had grown up in Kabul flying kite with my friends.
When Sônia [Braga] talked about the script in detail, it was as if she had seen the film [Aquarius] last night, even though it hadn't existed yet. It was a completely bulls - t-less reaction, so I knew it had to be her, and she has been great ever since.
I don't really get that nervous about whether people like it. You can't do anything about that. It's more technical. You spend two years of your life obsessing, picturing sound details, and you work so hard to make a movie a certain way, that you get there, and you're like - is it loud enough or whatever, so that this experience with everybody in this room is the fairest chance I can get. And then if you like it, cool, and if you don't, whatever.
The second half [of Valley of Violence], you're with the guys that you should hate, but when you start seeing what their real lives are, you're like, "I do hate you, but at the same time, all right - maybe take it down a notch." The complications of all that are what's so interesting to me, those esoteric details - that's what people will hopefully take away from the movie.
Toby [Huss] gets shot, or that part when [John] Travolta says this, or the part where Ethan [Hawke] says that cool thing - those details are the things that are interesting to me. So just acknowledging we don't have a lot of money [for Valley of Violence], so we're going to make a Western that's kind of contained, but we're going to make it super charismatic and we're going to make it memorable for what it is as opposed to what we couldn't afford.
What I do with the story itself varies of course, but what I want to do is to present the world so that the reader can access it without tripping over the details.
Even if you close your eyes, you'll still hear Donald Trump sniffing. Linguists might call [these visuals] paralinguistics, every form of information including facial gestures and facial features. Obviously these things get scrutinized in tremendous detail, so that a cough can be of outsized importance. [But] that's all part of the package.
All these people that you meet or I meet, there's not a prayer in hell that they're ever going to run for office or major office because if they're that smart, they're also smart enough to know they don't want to take everything that they've built up and have it torn apart by a sensationalized media that's so hungry for any kind of salacious detail that they'll make that the emphasis of the person's life. And then all of sudden, 50, 60 years of hard work and accomplishment go out the window.
Obviously the more transparency we have as auditors, the more we can get, but the main goal is to understand important characteristics about a black box algorithm without necessarily having to understand every single granular detail of the algorithm.
[Warren Beatty] is voraciously detail-oriented.
[Warren Beatty] will sometimes spend hours on a very small detail to make sure he gets it right. After the kind of work that he's made, he certainly doesn't have to be doing that.
I would go so far as to say that a painting is narrative, because I have the moment where I approach it and see it for the first time, and then I spend time with it, discover details and things I haven't seen, and then I have the moment when I decide to leave it.
There's a ceiling when it comes to genetics. I'm a huge believer in the mind. I feel like anticipation is a key to the success of the game and I feel that's where I thrive. Being able to anticipate, prepare and live in the details of the game.
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