Christian Research Institute will continue doing what we do ... making people so familiar with truth that when counterfeits loom on the horizon, they know it instantaneously. So we're a discernment ministry, continually trying to build Christians up so that they can discern between truth and error.
I see parallels between Karachi and the cities that I was familiar with: a very different place, but in terms of its human stories not really very different at all. That was what excited me about the place - that it was so complex, as difficult to me as an outsider and yet so human in a way that was ultimately very familiar.
Religion is much more than language, but to be Christian does mean speaking Christian for most people. The language many of us use has contributed to the crisis in Christianity in North America. Traditional Christian language is becoming less familiar to millions of people. The language is frequently misunderstood by people.
I think that we, as writers, get excited by risk. When we are feeling comfortable and familiar, I wouldn't say that we get bored, but the energy in the room gets flat. When we're most excited and when the show is the most fun, it's when we're duking things out.
When I am writing poetry, I try to make my mind go a little lazy, to not think too much, as a way of opening up the part of the brain that makes poems. If I'm successful in this part of the process I'm often not. If my mind gets too lazy it will linger in familiar boring territory, it's like my mind can stroke the physical world.
Unless you count the political backdrop, which in any case is a familiar one to many international readers, I don't think there's anything that I would call essentially Brazilian in João Gilberto Noll work. In that regard, it translates very well to a cosmopolitan audience.
In comedy you work with people so often that they just become familiar faces - it's like a fraternity.
It's kind of like being a writer in the sense that you always hear other writers say, 'Well, the best way to start writing is to just start writing.' The same goes for improvisation. You want to start improvising, just start playing notes. And the more you do that, the more comfortable - or not comfortable - but I guess how you're able to adapt to situations. You become more familiar with your instrument. As soon as you have a musical thought, you can go ahead and add to that musical thought and know your way around.
The food to me is just a hook, it's a button, it happens to be the social construct and the cultural totem that I'm most familiar with. So of course I built the show around food because it's where I'm familiar.
We can cooperate more easily with those who more easily intelligible to us, who are more familiar to us. But the advantages of specialization of labor often push us in the direction working with people who have different strengths and viewpoints than we do. I think that this is one major reason why moralities are always subject to change, because some of the people we cooperate with are going to be different from us in ways that often lead them to have different value orientations than we have; and interacting with them can change us.
Housing in New York seemed to fit Norman Lear. In addition, his shows confronted all kinds of social issues - racial separation and prejudice being foremost among them. The Evans of Good Times were the first black family to be the focus of a primetime American TV show. A lot of the people we came across in filming were familiar with the role Norman played in catalyzing important national conversations about race. They seemed grateful to him for trying to move the needle.
Nature has a drive for wholeness and has created us only in relationship like one giant superorganism. It's a fact there is a connection between atoms and all of us in relationship with each other and with our environment. In all of our societal relationships there is a bond so profound and intricate that it's impossible to say where one thing stops and another thing begins. So you see this mirrored in every aspect, from the subatomic world to the world that we're more familiar with. So competition ends up being a false creation in our society.
On both sides of the Atlantic, our citizens are confronted by yet another danger - one firmly within our control. This danger is invisible to some but familiar to the Poles: the steady creep of government bureaucracy that drains the vitality and wealth of the people. The West became great not because of paperwork and regulations but because people were allowed to chase their dreams and pursue their destinies.
It's also easy to fall back into what's familiar, what feels safe, what you've done before.
That was in 1994, July, 1994, and I can remember that like it was yesterday too because it was the culmination of a childhood dream to finally be laying on the launch pad inside a space shuttle and getting ready to be launched into space. The impression of going into a space shuttle is that it looks like a brand new simulator. We spend so many hours inside a simulator that everything is very familiar. Every switch, the seats, the way things work, but the vehicle, the actual spacecraft looks brand new because it hasn't been used nearly as much as the simulators.
Steve Hadley is an interesting option as secretary of state because he is somebody that is, you know, familiar to power, served in the White House, and did not oppose Donald Trump the way a lot of the Republican foreign policy establishment did. But his name was not on that list, at least at the moment.
I don't need to go over a fight scene a million times. I got it. It comes very naturally to me to do that. And our industry is a little more physical than I think some people know, with regard to how much contact is made between WWE Superstars when we're wrestling a match. Whereas on set, sometimes actors aren't familiar with that sort of physicality.
For Coca-Cola, they wanted a hippie-looking girl to walk around the city with a bucket of chicken sitting in Central Park, sitting on Central Park South, walking along all these different areas of New York that people are familiar with, and just eating this bucket of chicken. I got that commercial too. I think it was just part of my personality that was different from just a regular, nice-looking girl that was more of a model-y type. I injected a little more energy into everything I did.
You try to go with something that's familiar to people and that way they can jump on board with what you're trying to do basically. I only mimic people that really have like interesting voices because it's really hard to mimic like someone who just talks regularly like me like there's nothing fun about that.
It's always tricky to watch yourself, always. When I first had to watch myself, it was really hard because I'd done quite a few plays and I've never seen myself. So I was professional but I'd never watched myself. So I was like hearing you know... I'm sure you guys are all much more familiar with that because everybody has a phone, and everyone's taking pictures of themselves and making movies of themselves. And so people are more accustomed to it now. So I had to get used to it because there's a lot to be learned, of course, as an actor. When you watch yourself, you learn a lot.
I confess to getting quickly bored by one style of expression, and I like to experiment with all different sorts of modes. I rebel against familiar tools.
I'm very political. Because I read politics every day, so I'm familiar with the world. I approach the films is I'm trying to write what is true, so that supersedes partisan spin, in my opinion. I find partisanship is a thing for cable news and newspaper articles, but it's not interesting for art. I think we all believe what we believe, and I don't think a film is going to change someone's mind.
I don't even know if people are familiar with my name as an actor. It's not as if I ever was an über-famous actor.
There is a document in every novel in the world. Even in the most fantastic novel, even in science fiction, there is a documentary side. But, this side is not the crux of the matter. I don't think a novel's main donation, main gift, is the document. The document is there, but a novel goes beyond documentation. It goes into opening a new vista, opening a new perspective, showing familiar things in an unfamiliar way.
The one fatwa that everyone here is probably familiar with is the Salman Rushdie fatwa, but a fatwa doesn't have to be a violent thing at all. A fatwa is simply a ruling on Islamic law; there can be fatwas on clothing.
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