From a Christian perspective, the answer to all of that is not power, as it is in the modern perspective. It's love. It's self-sacrifice. That's what love is all about. The marriage ceremony says it very well: sacrifice is difficult, but love can make it a joy.
If you, however, separate reason and faith so that it's purely a rationalistic scheme, it will end in violence. If a pure faith scheme - sometimes called the fundamentalist scheme in modern parlance - you'll end in violence too.
I was under the influence of the early modern masters, Fitzgerald and Steinbeck and Hemingway, especially, when I was a kid. I reacted against writers like Barth and John Hawkes. I did not care for the post-modernist stuff; my allegiance was to realism.
I think I will always feel a special relationship with The Umbrellas of Cherbourg, because for me it was something very, very special. It was a modern opera, and to play the heroine in a film that became such a success at a young age, and learning from him when I was so young and impressionable - really it was one of my most important experiences.
I think one of the reasons movies are the quintessential modern art form is that it is partially a business. The director needs a crew - the writer, the producer, etcetera - and to have that, he needs money.
I've been extremely lucky to work with Elmer Bernstein, Howard Shore over the years, but I've always imagined films with my own scores, because I don't come from that world or that period of filmmaking. And so how could I make up my own score on a film like this where it isn't necessarily made up of popular music from the radio or the period; it isn't necessarily classical music. But what if it's modern symphonic music?
I have always wanted to make a film about my parents' generation, which tried every way to escape from the deadly shadow of war and finally settled down in Hong Kong in the '50s to build a home from nothing. Arguably, they are the first generation of Hong Kong people to turn this remote island into a modern city.
I don't like super-descriptive modern fiction. I like, "Here's what was happening in 1582 all over the planet." Then that gets my imagination going.
One of the problems of our modern world is that there's a lot of things to work through, but, at some point, everybody should take a pause from that and make something, so that it's not just all one-way traffic.
I prefer more of the modern stuff - just because I can associate with the imagery more.
I watched L'eclisse [1962] with Alain Delon and Monica Vitti. Changed my world. What a glamorous and modern film. This is what a genius is - the thing of a genius. The dresses, the tiny heels, the Cardin look, the boys dressed up as Italian gigolos - it was divine, very modern. [Michelangelo] Antonioni, I loved and I realized: how modern.
I think Lucy Ferry, now Birley, is absolutely beautiful. She's a modern girl, but she moves beautifully. Amanda [Harlech] moves beautifully when she's not working. All those English leftover society girls.
I hate the modern day the kids live in. I don't think it's very cool. Everyone's interconnected.
I believe modern SF needs to at least be aware of the singularity, if only so that it can dismiss it intelligently (or work around it). But I suspect the singularity is like faster-than-light travel for the IT generation. We may hope for it, and the rules don't forbid it, but we don't know how to do it yet (and it may not be possible).
I would go there quite frequently. I met and became close with John Szarkowski of the Museum of Modern Art. He was incredibly supportive about me working in color.
I think he [King Edward] was a modernizer who was a new thinker. The things he intended to do - unify the country, expand it all from coast to coast - were very modern and radical in those days. Also, the fact that he married who he did and that he managed to deal with the consequences and ramifications of that marriage and stay on the throne until the day he died, that shows skill.
There's so many modern films where the fans take one side or the other. I'm hoping this isn't going to be like that; I'm hoping it isn't that kind of film at all. What I would love for the audience to take from it is to understand why she was so stuck in the middle and confused.
Modern, not bottom-dwelling literature like a carp.
I live in the 17th century. I don't have a computer. I don't look at the internet. I use a cellphone, and that's about my only connection to the modern world.
I wouldn't overall say that "The Diagnosis" is a funny book. I would say that it has comic moments. It's a modern tragedy.
I never define depression, clinical or otherwise. It's the basis of most life, it seems to me, in the modern world. We're all depressed.
Turning something into low resolution data does seem to make it worth less in the modern world.
I respect those who follow religious routes only if they seem to me to be morally proper and in accord with the modern world.
We can't say what God is, and until the modern period, Jewish, Christian, and Muslim theologians in the three God religions all knew that. They insisted that we have no idea what we meant when we said that God was good, or wise, or intelligent.
The trouble with a lot of modern theology and a lot of modern thinking about God, is that we think of God a sort of being like ourselves, but bigger and better with likes and dislikes similar to our own.
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