The moment you start thinking it's hopeless, then it is. [But], if you think it's gonna get better, it really does. Life is a test.
The world comes to us in fragments and shards. Whatever stories we shape from our days, we're always dealing with gaps, blank-spots, and blackouts - and in handling all these breakages, we are, at all times, so incredibly intimate with sharp edges, the unending knife-like moments of failure and joy in our lives.
I think the big turning moment was when I joined the student political action club and started studying nonviolent civil disobedience in response to the Iraq War. The first anti-Bush protest in Atlanta was the first protest that I'd ever been to, and I helped organize the school walkout when I was a junior. It was a really solidifying moment.
Just as certain Cold War binaries were collapsing, new binaries of Sunni versus Shia or Arab versus Kurd were being created by the new occupation force. It's the corruption of that moment that I am really interested in.
There are certainly times in history where power associates itself closely with fields that we would call the humanities, like rulers surrounding themselves with philosophers and poets, or playwrights. We do not live in that moment, and the best way to gauge the proximity of an academic field to power is by salary.
In a moment when the outcome of our revolution was most in doubt the father of our nation ordered these words be read to the people. Let it be told to the future world that in the depth of winter, when nothing but hope and virtue could survive, that the city and the country alarmed at one common danger came forth to meet it.
At the moment, for example, maybe ten percent of money in the world is related to goods and services. Ninety percent of money is just moving around the world, chasing money. So, money has become the ruler. And we have become the servant.
We need to learn to live in the here and now; this moment is the best moment. Live it fully.
I'm quite a smiley guy, I have my moments, but I think I'm generally of a relatively optimistic nature.
Kevin Bacon and I recently worked on a move together, R.I.P.D. Just before we'd begin a scene, when all of us would feel the normal anxiety that actors feel be- fore they start to perform, Kevin would look at me and the other actors with a very serious expression on his face and say: "Remember, everything depends on this!" It would make us all laugh. On the one hand, it's not true of course, but on the other, everything does depend on this, on just this moment and our attitude toward this moment.
We put authors on such a pedestal, and it's a moment that humanizes the whole thing, and lends an absurdity to what otherwise is a "please sit with your hands on your lap" kind of event.
Hence, when some members of the Iranian diaspora, especially women at the moment, use different tropes including the trope of the veil and the issue of gender to construct an image of oppression or to describe the 'silenced' Iranian woman, western intellectuals, policymakers, and publishing houses are all quick to introduce them as presenters of the authentic Iranian experience.
I think of movies as depicting moments of change. Change is growth, and that change also possesses the same dynamism that movies do.
One of the coolest moments for me is still when Kenny G came back to a venue to find me and personally tell me that he loved my song "Void of a Legend" and had watched the video several times. It's the ultimate feeling to get feedback like that from an artist you look up to
I think it's necessary when you're dealing with a dark show that has explosion and violence to have defined moments of lightness and humor, even romance. It's important, and it deepens the character, of course.
I don't think you need to watch Arrow and Flash to appreciate what it is Legends has to offer. The beauty of this show - and they do this on Flash, and they did this on Arrow - is that we do spend time on character. We do spend time on backstory. We do take a moment in between the sci-fi special effects to tell you who these people are, so that when something happens to them, you actually care.
I got to work with [Carlos] Santana, who's been my idol forever. When I was 18, I got up with him in Australia and jammed with him. That was an amazing moment because I got up in front of my hometown crowd.
Reading a poem is a real thing, a worthy thing. So to be there right with the reader at that moment is part of the effect of a title like "Poem for" something or other. Matt Rohrer does this a lot in his titles, and I think I might have gotten some of the idea to do this, or at least been reminded of how it can work, from his recent amazing books.
I wanted to capture time through how food and I were getting along at any given moment. That necessitated writing some dark stuff, some sad stuff, and a lot of painful memories, because my life has often been dark, sad, and painful. I didn't want to sugarcoat anything.
Not to be to be a vulgar materialist or be too reductive, but all of that was completely absent from the conversation. Instead we were told it was a "revolutionary" moment, where these new tools would inevitably displace the old media dinosaur and that things would be democratized and wasn't it great we could all collaborate on these platforms.
A big factor is that the enthusiast camp's values are really rooted in Silicon Valley and in these supposedly new business models. But again, I think this such an interesting moment because things like the NSA revelations are really forcing people to recognize the connections between corporate and government surveillance.
I do believe we are actors in our own dramas, which, moment by moment, we ourselves write; that we are characters in our own fictions or those devised for us by someone or something else.
There's this moment sometimes, when you do a crossword puzzle and you have the one really long word. And once you get that, the whole thing kind of comes into focus. Sometimes it's just working things over in your mind and then finding that one line that kind of ties the song together, and now it works. It's a puzzle of sorts.
I think the biggest thing - and this I think is true of songs but also of movies and books and art in general - is when you have this moment where you hear a song or whatever and you say, "Hey, I've felt that exact way as a human being," and there's no easy way to describe it.
When people hit on feeling a certain melancholy or elation, it's a really exciting moment. I think making that connection is the goal, and what makes something great.
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