I've had empathy toward what Carson McCullers calls "the invisible people" all my life and was inherently interested in what redeemed Mancil Travis, what fueled Mancil, what destroyed Mancil, etc. I think everyone wants redemption including Mancil.
I think that, in our culture, we find older people to be almost invisible, and it's such a shame. The one thing, the one condition that we all suffer from, and that we all benefit from, is ageing. It starts at zero and we're all going in the same direction, and I always try to see the young person underneath the older person and that's all of us. We all feel the same way inside, and I think that there are so many ways for us to age well and to help our senior population get to the golden years with more dignity more independent and more enjoyment.
Unfortunately, people expect a Russian opposition politician to be a manic libertarian who thinks the oligarchs are great, who isn't interested in the problems of retirees and who believes the invisible hand of the market will resolve everything.
If Hillary Clinton wins, she becomes the face of the Democrat Party. She becomes the face of the power. She becomes the focus of attention for the media and everybody else - rendering Barack Obama not invisible, but certainly secondary status. I have my doubts about that. I think there is such devotion - media - for and to Obama that I think he's gonna remain prominent no matter who is elected president, and I think that he is going to seek to undermine anyone, whoever they are, if they try to undermine or unravel any of his so-called achievements.
We're affable guys in They Might Be Giants. We're not gonna do the periscope-down thing, but it's a little bit mind-bending. The biggest struggle is trying to figure out a way to back up far enough in your answer that it can be read without the context of the question. Every declarative statement you see that comes out of an interview with somebody is actually in response to a question. So it's sort of like this very real interpersonal dance where one of the people involved is invisible.
Every declarative statement that comes out of an interview with somebody is actually in response to a question. It's like this very real interpersonal dance where one of the people involved is invisible.
I believe my research "validates" is the idea that "the water holds and transmits information." I believe that the more we properly understand water, the more we can expand our consciousness into other dimensions. The validation for me personally has been invaluable because to be honest I could not sense the invisible world through my own sensibilities. When people would speak of the inner world of our psychology I would wonder if that was even possible, but through seeing how our thoughts have an observable effect on water I no longer doubt and it's because of this validation.
The pressure was always there, but I feel like it was almost invisible to me. I had too much going on once I got rolling with Evolution and won my first title. They say the cream rises to the top, and I felt like the cream. I rose to the top real quick, and I was surrounded by Triple H, Ric Flair, Shawn Michaels, Undertaker, these guys who were very well respected in the profession, and they wanted to work with me.
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.
France is a country where thinking is supposed to be furtive, invisible, almost clandestine. France is a country of cliques and sects.
Your body, which is very physical, is under the influence of your thoughts, your feelings, your emotions, your dreams, your fantasies, your desires, your instincts, your drives, your imagination. All these things orchestrate themselves - all these internal activities that are in the invisible domain that we call consciousness actually have very precise physical effects both in our biology, but they also influence our perception of the world.
We look at the human body as a biochemical machine controlled by genes and therefore we see a mechanical aspect to life and then try to understand the nature of mechanics by looking at how the physical parts interact with each other. If you want to understand life you just look at it as a whole series of interactive chemical reactions. What we are leaving out is the invisible elements, the contributions of the invisible world, which are emphasized in the nature of quantum mechanics. Matter is energy and is a primary factor that must be considered because everything is ultimately energy.
Direction is the most invisible part of the theatrical art. It's not like the conductor in the symphony orchestra performance because he's standing in front of you waiving his arms. You now what he's doing. You don't know what the director is doing unless you know a lot about theater and even then you can only deduce it. You know it when you go to rehearsal. You really know it when they are rehearsing something of yours. I learned more in the rehearsals for The Letter than I have ever dreamed of know in the theater as a critic. If it doesn't make me a better critic, I'm an idiot.
I wanted out of the spotlight, so I subtracted myself for a few years. I just tried to do a couple producing projects. Of course, the problem is, in getting out of the spotlight to feel safe and invisible again, I overcompensated and went too far into the darkness. And now I come back and go, "Wait, I didn't mean to go that invisible. Hey, come on, I'm here, I want my voice to be heard."
People create the illusion of acting natural, which is what I think most documentarians do in part because of the direct cinema orthodoxies that came into play really in the '60s. That moment of performance is a tremendous opportunity to make visible something hitherto invisible, which is how people want to be seen. How do they see themselves? What are the scripts, fantasies, genres by which they imagine themselves? How is storytelling part of what we are as human beings? We wouldn't kill each other en masse if it weren't for storytelling. We wouldn't be able to live with ourselves.
We're really delving into so many stories that are comic book based, so I like that we have a woman as part of that production. We haven't really explored that too much. Wonder Woman has had so many different connotations over the years because she's so beloved as a character, and it's been interesting to see how she's evolved - to see how her outfits have changed, and going from having her invisible plane to starting to fly herself, and sort of be on par with the physical attributes of Superman.
I prefer to think of film making - you know, um, the sweat is supposed to be invisible. But a lot of sweat can go into making a film. But of course, if you enjoy doing it, you enjoy doing it.
Choosing happiness is a scary thing. Choosing love is a scary thing. When I was in the war, not only did I not have a voice, but I had to make myself not be heard, not be seen, become dumb, mute, blind, invisible, just so I could survive. When you fall in love, you become alive, all of a sudden you are singing. For me, there was a fear that the person I love would one day leave me, whether by their own choice or that they would die. How was I going to survive that? Choosing love and happiness is to know life goes on. I had to believe that.
Hijras are a sexual minority that is visible, and yet we are treated as the invisibles. I believe I was never invisible. I thought, "I'm the face in the crowd, not the crowd."
I learned to keep at a certain distance from things - and to make myself a little bit invisible while I observed and understood them.
On a movie, it's always better to stay invisible as much as you can to keep things calm. I like to whisper to my cameraman, I like to whisper to my actors, and whoever else I've gotten to whisper to.
It seems to me that what the artist sees is the simple and obvious that is invisible to everybody else.
I think history is only ever invisible when it abets your sense of self, your desires, your ambitions, when it carries your life along in a kind of frictionless way. History is never invisible, finally, though some people seem to work very hard to be willfully blind. That's too harsh, or too self-righteous: none of us sees history fully; none of us is adequately aware of how the arrangements of the present moment foreclose the possibilities of others to fully live their only lives.
If you go back to Adam Smith, you find the idea that markets and market forces operate as an invisible hand. This is the traditional laissez-faire market idea. But today, when economics is increasingly defined as the science of incentive, it becomes clear that the use of incentives involves quite active intervention, either by an economist or a policy maker, in using financial inducements to motivate behavior. In fact, so much though that we now almost take for granted that incentives are central to the subject of economics.
When I interviewed the evangelical Christian youth group who were protesting the Village Voice, I wanted them to feel they could freely tell me things like, "Did you know that 90 percent of prostitutes don't want to be doing it?" Is that unfair? That's sort of an invisible privilege for me.
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