A design isn't finished until somebody is using it. Brenda Laurel Intelligent design itself does not have any content.
How can we speak of Democracy or Freedom when from the very beginning of life we mould the child to undergo tyranny, to obey a dictator? How can we expect democracy when we have reared slaves? Real freedom begins at the beginning of life, not at the adult stage. These people who have been diminished in their powers, made short-sighted, devitalized by mental fatigue, whose bodies have become distorted, whose wills have been broken by elders who say: "your will must disappear and mine prevail!"-how can we expect them, when school-life is finished, to accept and use the rights of freedom?
In an attempt to help me move on from my failed marriage, my mom set me up with Jesus Freak. In fact, the stoner hadn't even finished moving out when she told me not to worry, because she already had someone better lined up for me. I was just lonely and desperate enough to endure a four-month celibate long distance relationship with a guy who read 15 chapters of the Bible and prayed for two hours every day and expected me to follow suit. He wanted to give our hypothetical children Bible names and for us to move to Korea to become missionaries.
I went to theater school in France, and when I finished I thought I would never go back to acting again. I don't want to be acting in theater. It's not for me. I'm sick of all this theater world, all these actors, and all that.
I think probably something big can be done with cameras, I'm not saying, er, I'm saying chemical photography's finished, that means you can't have a Cartier Bresson again, you need never believe pictures.
I don't have all the facts. And I might misremember. As a matter of fact, after I finished Winter Journal, I realized that I'd gotten someone's name wrong.
I wrote Report from the Interior was that after I finished Winter Journal, I took a pause, and I realized there was more I wanted to say.
My wife and I just started listening to the late Beethoven Quartets together, an activity I recommend for all married couples, but that doesn't really mean that I'm finished reading.
Normally I can't watch playback. I can't watch anything because I know that it's so rough and there's going to be effects that are added, there's going to be sound effects, there's going to be so much stuff that happens between this point and that finished product that it just ruins the illusion for me.
People think I'm educated because I talk and write well, but the fact is I never finished high school. I've read a lot, is all.
I always try to stay as quiet as possible about a book until it's finished.
You're writing it is how you feel. And when you're finished you put your signature on it and you mail it off and that's it. And that's how "Stand By Me" was really.
When I write a book, I hope to be beyond mortal by the time I'm finished.
I always have a few ideas that are percolating, and then after I've finished a book and it's a year later, and things are sort of festering and things are disgusting in my house and I have to get back to work, whatever project I keep thinking about is the one I end up working on. Sort of a very simple process of elimination.
In terms of why everything is different, each book is different than the one before because I'm so bored of what I just finished I want to work on something different. The next book becomes an antidote to what I did before.
I try to, at least once or twice a week, have someone over and model, usually a dancer friend or a poet or someone to come over and just stay still for me. Depending on how exhibitionist they are, it will determine the finished work. And I say, "You're the muse; you come up with it. I'll draw you however you want."
When I finished graduate school, the first George Bush was president, and I really wanted to get out of the country. We'd just gone through the first Gulf War.
Also, after Examined Life was finished I found myself thinking about the way creative opportunities and distribution channels were shifting. Should I be showing my films in theaters or just think about getting them out online? There were other issues, too.
There were definitely scenes I struggled with more than others: the car accident and the thunderstorm are two that come to mind. It's difficult to write about a thunderstorm. There are only so many ways to describe it and our vocabulary is so limited. And the car accident scene required a tense, manic quality that had to be conveyed in the language, as well as the character's dialogue and actions. I was editing these scenes long after I thought I was finished with them.
It's funny - for a long time, I didn't know I was writing a book. I was writing stories. For me, each story took so long and took so much out of me, that when I finished it, I was like, Oh my gosh, I feel like I've poured everything from myself into this, and then I'd get depressed for a week. And then once I was ready to write a new story, I would want to write about something that was completely different, so I would search for a totally different character with a different set of circumstances.
In order to make a normal-sized record, a singer songwriter should have a couple dozen finished songs. Once they go through the process of production, the ones that scream out at you that they're finished are the ones that make the record.
I think, I just always want to leave the door open for, you know, I don't want it to be finished. I've never gotten sick of a song, I've played them over and over and over again, and if I get bored with something, then I'll just change that thing.
A book is not only written - after it's finished it starts writing you, the writer. You become its notebook, its sheet of paper on which it forces you to think and rethink your original ideas, your topics, your research, actually everything.
My first book published in France was translated and titled Exercices d'Attente in 1972. It was a collection of short works written and published in Romania. In 1973 I was ready to publish the novel Arpièges, which I had started writing in Romanian and of which I had published some fragments under the title Vain Art of the Fugue. Some years later, I finished Necessary Marriage.
I remember hearing a good story about Jack Nicholson working with Stanley Kubrick on The Shining [1980]. Nicholson was saying that, as an actor, you always want to try to make things real. And believable. When he was working with Kubrick, he finished a take and said, "I feel like that was real." And Kubrick said, "Yes, it's real, but it's not interesting".
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