I felt my energy return and that I said to myself, in any event I'll recover from it, I'll pick up my pencil that I put down in my great discouragement and I'll get back to drawing, and from then on, it seems to me, everything has changed for me.
My manager got the script for Under the Dome, and I read it and just fell in love with the character. I grew up on Stephen King, and I love his whole aesthetic of the classic American story with supernatural events happening, so it just made sense.
Unlike prose writing, the strange process of writing with pictures encourages associations and recollections to accumulate literally in front of your eyes; people, places, and events appear out of nowhere. Doors open into rooms remembered from childhood, faces form into dead relatives, and distant loves appear, almost magically, on the page- all deceptively manageable, visceral, the combinations sometimes even revelatory.
A curious thing about atrocity stories is that they mirror, instead of the events they purport to describe, the extent of the hatred of the people that tell them. Still, you can't listen unmoved to tales of misery and murder.
Seth can get irritated/frustrated with Jane and me. This exerpt is from the private session of November 11, 1979: "... the same kind of reaction, however, are involved in all activities, and it is sometimes frustrating for me that you cannot perceive the fascinating facets of any event. You still - and I do not simply mean you two alone - do not feel the unsurpassable force that thoughts have. You do not understand that they do form events, that to change events you must first change thoughts. You get what you concentrate on."
Deaths, births, and marriages, considering how much they are separately dependent on the freedom of the human will, should seem to be subject to no law according to which any calculation could be made beforehand of their amount; and yet the yearly registers of these events in great countries prove that they go on with as much conformity to the laws of nature as the oscillations of the weather.
If I haven't made myself clear, this worrisome chain of events describes the game of the nineteenth century.
The Christian is the person who sees every time and every situation, however dreary and repetitive, as God sees it - a fresh creation from his hand, demanding its own response in perhaps a wholly new and creative way. Under God he is free over it. He has won through to a purchase over events; he has risen with Christ.
We can shape events in each other's brains with exquisite precision.
Without some form of censorship, propaganda in the strict sense of the word is impossible. In order to conduct propaganda there must be some barrier between the public and the event.
Huge events like the Ukraine famine of 1933, involving the deaths of millions of people, have actually escaped the attention of the majority of English russophiles.
Working with Woody Allen is like filming Howard Hughes's will. It's a very mysterious and strange event. You never get a peek at the whole will.
The conquest of the outskirts of the atmosphere, and eventually space, is a revolutionary event, comparable only to the transition of the aquatic animals to the land in geologic times.
I am personally saddened and stunned by the tragic events that took place in Red Lake.
He can develop sense and style, in the manner of distinguished modern prose, in which event he may be sure that the result will not fall into any objective form.
To say it another way, thinking, however abstract, originates in an embodied subjectivity, at once overdetermined and permeable to contingent events.
I'd been reading Daniel Defoe's Journal of the Plague Year when the [1992 Los Angeles] riots broke out and I began to see them both - L.A. and the London plague - as the same event. A time of crisis. A time when rich and poor get thrown together - and, suddenly one sees alternatives. I began to think about what happens when the containment of a presumed danger through the regimentation of space breaks down, such as when South-Central L.A. began to invade Beverly Hills.
I want to seduce the audience. If they can go along for a ride they wouldn't ordinarily take, or don't even know they're taking, then they might see highly charged political issues in a new and unexpected way. . . . The theatre is now so afraid to face its social demons that we've given that responsibility over to film. But it will always be harder to deal with certain issues in the theatre. The live event - being watched by people as we watch - makes it seem all the more dangerous.
. . . I do think that deep down, a lot of my work is about people trying to make reasonable accommodations of situations that are insane or absurd. . . . At first I thought the events had power in themselves, that I would just present them. I really wasn't aware of the things that finally became central issues to me - the shifting alliances, the way people hardly even know they've shifted. That part of [A QUESTION OF MERCY] is very familiar to me in terms of my other plays.
There's nothing personal in it [THE SKRIKER]. I'm not ever inclined with any of the plays to say, This is about that, because plays are about the whole event that they are. . . . I was certainly wanting to write a play about damage - damage to nature and damage to people, both of which there's plenty of about. To that extent, I was writing a play about England now.
Some gentlemen have made an amazing figure in literature by general discontent with the universe as a trap of dulness into which their great souls have fallen by mistake; but the sense of a stupendous self and an insignificant world may have its consolations. Lydgate's discontent was much harder to bear; it was the sense that there was a grand existence in thought and effective action lying around him, while his self was being narrowed into the miserable isolation of egoistic fears, and vulgar anxieties for events that might allay such fears.
Fate, they say, fate- the clay that molds the events of your life, and it was the same fate that had thrown the stone of her heart on the building of his expectations. But then wasn't it his fault that he had constructed the building of glass? Hadn't he failed to cement the bricks of his love with trust and colour them with security? There was no insurance for broken hearts, no ointment for wounded souls and there would never be one, he knew.
The psychiatric interviewer is supposed to be doing three things: considering what the patient could mean by what he says; considering how he himself can best phrase what he wishes to communicate to the patient; and, at the same time, observing the general pattern of the events being communicated. In addition to that, to make notes which will be of more than evocative value, or come anywhere near being a verbatim record of what is said, in my opinion is beyond the capacity of most human beings.
The scientific method ... is nothing but the exclusion of subjective opinions as far as possible, by the devising of experiments where observation can give objective answers, yes or no, to questions whether events are causally connected.
Throughout the 64-day campaign, events and activities for peace and nonviolence take place all around the world, highlighting existing peacebuilding initiatives and inspiring new year-round activities for a more peaceful, nonviolent, just and sustainable world.
Follow AzQuotes on Facebook, Twitter and Google+. Every day we present the best quotes! Improve yourself, find your inspiration, share with friends
or simply: