Neorealism taught us to follow the characters with the camera, allowing each shot its own real interior time. Well, I became tired of all this; I could no longer stand real time. In order to function, a shot must show only what is useful.
I get enough fashion news in my professional life. I like interiors during my downtime.
The Nobel Prize comes from outside, it's a social recognition [reconnaissance] in a way. And I think a true artist is driven by interior necessities.
[I had a sense of interior panic].Always. I didn't really know what to call it for a long time, but I have a friend in Greece who used that word panic a lot, and I found myself resisting it, until I totally accepted that as a precise description of my interior condition. It was mostly panic from one moment to the next. And nothing much else was going on.
The most dangerous man in the world is the contemplative who is guided by nobody. He trusts his own visions. He obeys the attractions of an interior voice but will not listen to other men. He identifies the will of God with anything that makes him feel, within his own heart, a big, warm, sweet interior glow. The sweeter and the warmer the feeling is, the more he is convinced of his own infallibility.
Cannot the love of Christ carry the missionary where the slave-trade carries the trader? I shall open up a path to the interior or perish.
I would like to be invisible because I'd love to go into people's houses and see their interior decorating.
The impresario function is about intervening with the company's more administrative management structure. It is about trying to establish a sense of boundaries and budgets and milestones and so forth on a project that does not necessarily lend itself to milestones. It is about translating between the intimate interior environment of the creative work team and the company's need to make money. And finally, it is about positioning the fruits of the creative process in the marketplace and selling them.
I don’t know how you look at the inside of your head — what metaphor you choose — but for those of us with endless yawning stretches of interior and nothing but nothing to stop us from getting lost in it, drugs can be wonderfully helpful.
To listen is very hard, because it asks of us so much interior stability that we no longer need to prove ourselves by speeches, arguments, statements or declarations. True listeners no longer have an inner need to make their presence known. They are free to receive, welcome, to accept.
By maintaining our attention on what's going on within others, we offer them a chance to fully explore and express their interior selves. We would stem this flow if we were to shift attention too quickly either to their request or to our own desire to express ourselves.
When I'm doing interiors - especially the ones where you really have full creative freedom - it's about creating an environment for people to feel so comfortable and at ease. I want them to become inspired to live and feel better.
A particular type of film emerged from World War Two, with the Italian neorealist school. It was perfectly right for its time, which was as exceptional as the reality around us. Our major interest focused on that and on how we could relate to it. Later, when the situation normalized and post-war life returned to what it had been in peacetime, it became important to see the intimate, interior consequences of all that had happened.
During the patriarchal time, the men were always and invariably dominant, legally and socially in marriage, so now it's possible to remodel the entire house of marriage, put in new footings and new joists and a new sort of interior. That is exactly what some men and women are now doing.
Money shows [man] new ways to cheat life. Power becomes exterior instead of interior. In these circumstances architecture becomes too difficult, building too easy.
A lot of society tries to put people with disabilities into one cube, and when you think about it, many, many people have different types of disabilities, and you cannot put a code that applies towards everyone - generally, they can be guidelines, but in the long run, interior designers and architects need more education on the subject. That's what's missing.
Writing mirrors the interior self. You know, any book is like the perfect blueprint of the psyche of the author.
I have been on stage on a few occasions where I felt I couldn't escape the interior of my - my interior thoughts. But Peter Wolf once said, what's the strangest thing you can do on stage? Think about what you're doing.
["Fear & Loathing in Las Vegas"] is a very hard book to translate to film because there's so much interior monologue. The what if factor. I tried to write it cinematically and let the dialogue carry it but I forgot about the interior monologue. It's kind of hard to show what's going on in the head. I think we should do it like a documentary.
The interior of the earth is extremely hot – several million degrees.
I always think of music as interior decoration. So, if you have all kinds of music, you are fully decorated!
Perhaps I don't give the impression that I'm hurting on the track. But that is because I am animated by an interior force which covers my suffering.
To create an interior, the designer must develop an overall concept and stick to it.
I suppose the most marked example of color as structure is in the Byzantine use of mosaic decoration that becomes architecture. The decoration of the interiors so related to the form that they fuse. In less elaborate interior design this is always the ideal approach to color - used not only as just color alone.
It is general knowledge for anyone interested in color that subdued value, intensity and hue make for quieter, less adventuresome interiors. Stronger approaches need stronger knowledge, more experience and flair.
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