I dont really have an office or anything, and I like to have to move location every two hours. So I just kind of write in a park, on a bench, in the library, in a cafe, back to the library, that kind of thing.
Google is famous for making the tiniest changes to pixel locations based on the data it accrues through its tests. Google will always choose a spartan webpage that converts over a beautiful page that doesn't have the data to back it up.
A screenplay is really an instruction manual, and it can be interpreted in any number of ways. The casting, the choice of location, the costumes and make-up, the actors' reading of a line or emphasis of a word, the choice of lens and the pace of the cutting - these are all part of the translation.
It's like guerrilla warfare. If you reveal your location, all it does is allow your opponent to improve his artillery bearings. It's better to move quietly, with stealth, under cover of night. You've got two choices: You can wear cammies and shimmy along on your belly, or you can put on a red coat and stand up for everyone to see. It comes down to whether you want to be the British army in the Revolutionary War or the Viet Cong. History tells us which tactic was more effective.
In film, the possibilities are greater. You can go beyond the fourth wall. You can go to these incredible locations and you're put into circumstances that are physically sensuous. It sometimes requires much more of a physical talent.
The classroom, with all its limitations, remains a location of possibility. In that field of possibility we have the opportunity to labor for freedom, to demand of ourselves and our comrades, an openness of mind and heart that allows us to face reality even as we collectively imagine ways to move beyond boundaries, to transgress. This is education as the practice of freedom.
Almost all of my jobs have been on locations. And I think you can be that person who says, 'I have a job that forces me to travel and I'm just going to go ahead and do it and pray for my next flight home.' Or 'this is where I am, this is my life, let me see a part of this world I now live in.'
So the city [Pittsburgh] was faced with that question of "What to do now?" because it can't turn back the clock and be what it once was. So thematically, it seemed like the perfect location for the movie. And then, it's a matter of how we get that feeling into the picture and make it a part of [Michael] Chabon's story.
I noticed that the work of my non - I noticed that the work of my friends who were white and male, specifically, existed in a type of freedom that was not bound by certain political questions and assumptions and locations.
It felt really radically uncomfortable. And I was really not sure at first about releasing that body of work. But then the more I thought about it, the more I thought that that position, that location, is something that's just sort of interesting in its own right, as an experience, as a process. Again, we're talking about this rubric, this set of rules, this grid that I toss on top of different locations globally. This is what came out of Africa.
I don't get involved in casting, budgets, location or promotion. Just the script. And, of course, the promotional tour. Which is fine with me - I'm a novelist.
Being able to go on location and see the world was the greatest perk of all.
We should not look at terrorism from the nameplates - which group they belong to, what is their geographical location, who are the victims. These individual groups or names will keep changing.
If I have the same plan to go into the streets, find random strangers, use art-historical referent from their - from the specific location, to use decorative patterns from this location, that's a rule. That's a set of patterns that you can apply to all societies. But what gives rise or what comes out of each experiment is so radically different.
Like everything, personal relationships and all that stuff is sort of put on ice while you go off to your location for five or six months. So, do I feel more settled in my life and in my work? Absolutely, yeah.
I don't like working in a studio, at all. I just prefer to be on location, rather than hearing the bells of the studio going off. It's like being in Las Vegas, where no one knows the time and there are no windows.
Women are expected to identify gender as a starting point. Ethnicities are expected to identify that as a location. Is it ever possible for the artist to imagine a state of absolute freedom? That was my call to arms.
It's not the physical location of birth that defines citizenship, but whether your parents are citizens, and the express or implied consent to jurisdiction of the sovereign.
Loneliness... has very little to do with location. It's a state of mind. In the centre of every city are some of the loneliest people in the world... because our whole planet was just outside the window, I felt even more... connected to the seven billion other people.
I want my street to be crazy, I want my avenues, shops and buildings, to enter into a crazy dance, and this is why I deform and distort their outlines and colours. However I always come up against the same difficulty, that if all the elements were one by one deformed and distorted excessively, if in the end nothing remained of their real outlines, I would have totally effaced the location that I intended to suggest, that I wished to transform.
Some locations are so terrible, you can't even breathe, and you still have to act.
There is no substitute for a real location when you're trying to shoot the jungle. You can't just go anywhere. You've got to go where it's lush and green and there really is those mountain ranges, the trees and the ocean.
The brain "fills in" the missing information from the blind spot. Notice what you see in the location of the dot when it's in your blind spot. When the dot disappears, you do not perceive a hole of whiteness or blackness in its place; instead your brain invents a patch of the background pattern. Your brain, with no information from that particular spot in visual space, fills in with the patterns around it. You're not perceiving what's out there. You're perceiving whatever your brain tells you.
All great hotels should have stellar personalized service, a unique design that gives guests a sense of place, an excellent on-site restaurant, and other fantastic amenities. Obviously location is a key factor as well.
The lips on my upper right bicep are my girlfriend's lips. She has the most amazing lips, and I wanted to carry them around with me everywhere I go, considering I can't carry her lips physically with me. So I decided to place them in a discreet location, such as the inside part of my bicep.
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