Losing is inevitable, make sure you have the tools in your toolbox to deal with it.
I'm obsessed with the form of a toolbox. The idea of a portable kit that has everything you might need ignites something inside me. It's like Batman's utility belt.
Intuition is the number one tool in the toolbox.
It's funny: I always imagined when I was a kid that adults had some kind of inner toolbox full of shiny tools: the saw of discernment, the hammer of wisdom, the sandpaper of patience. But then when I grew up I found that life handed you these rusty bent old tools - friendships, prayer, conscience, honesty - and said 'do the best you can with these, they will have to do'. And mostly, against all odds, they do.
Maybe its time we get a toolbox that doesnt just count whats easily counted, the tangible in life, but actually counts what we most value, the things that are intangible.
A language like Ruby is a toolbox with some really neat little tools that do their job really nicely. JavaScript is a leather sheath with a really really sharp knife inside. That knife can cut anything, and with it you can do anything. You can kill a bear. You can catch fish. You can whittle a piece of wood into a pony. It's even a toothpick.
Nature has provided us a spectacular toolbox. The toolbox exists. An architect far better and smarter than us has given us that toolbox, and we now have the ability to use it.
When you are writing a spoken word poem, the tools you're working with are your voice, your body, how it's going to sound to someone when you're saying it out loud. Which is different from when you're writing it on the page. That toolbox becomes how does this look visually on the page, how does this read among pages, how is this in relation to poems that are before it or after it. I don't think one is better or more successful than the other. You've just gotta think about "what are the tools I'm using, and how are they most effective in this form?"
The reason that clichés become clichés is that they are the hammers and screwdrivers in the toolbox of communication.
Capitalism is the only engine credible enough to generate mass wealth. I think it's imperfect, but we're stuck with it. And thank God we have that in the toolbox. But if you don't manage it in some way that incorporates all of society, if everybody's not benefiting on some level and you don't have a sense of shared purpose, national purpose, then it's just a pyramid scheme.
Psychedelics are extraordinary tools, when used with psychotherapy, because in one day you can let go of so much, and have insight into so much. Sometimes more than in a year of traditional psychotherapy. I think they should be used in psychotherapy. But I don't know who should be entrusted with the toolbox - priests or psychiatrists? That is the difficulty.
I think a lot of people become actors because they have a great reservoir and repertoire of many different emotions they felt over their lives. It's like having a toolbox, and you go down into the toolbox and choose one or two of those that you need for a particular scenario, or something that comes up in a line.
We need to develop a robust set of tools - strategies and routines - that help us address student variance. It's easy to come to rely on two or three "trusty" instructional strategies like worksheets and lectures. Those are of little help in planning for a variety of student needs. As we develop a better toolbox, we're empowered to meet students where they are.
I'm always inspired by actresses who are older than me. Because I know that person has lived so much more life than I have. There's a whole other toolbox.
Reason is not one tool of thought among many, it is the entire toolbox. To advocate that reason be discarded in some circumstances is to advocate that thinking be discarded - which leaves one in the position of attempting to do a job after throwing away the required instrument.
Stories are like relics, part of an undiscovered preexisting world. The writer's job is to use the tools in his or her toolbox to get as much of each one out of the ground intact as possible.
I won't date a guy who doesn't own a toolbox. I'm not saying you need to be able to knock down a wall or build a house or anything like that. But I've been out with a couple of guys who didn't own toolboxes, and they couldn't even change a light bulb.
The first is that good writing consists of mastering the fundamentals (vocabulary, grammar, the elements of style) and then filling the third level of your toolbox with the right instruments. The second is that while it is impossible to make a competent writer out of a bad writer, and while is equally impossible to make a great writer out of a good one, it is possible, with lots of hard work, dedication, and timely help, to make a good writer out of a merely competent one
Film gives me live actors, editing, music, sound, a huge and powerful toolbox to play with. If there is a problem for me, it is that film gives me too much. There is less room for the audience to add their side of the conversation.
You can't teach talent, but you can teach people how to read strenuously and mimic the moves of rock-star writers so that they eventually accumulate a toolbox of skills.
I admire writers who can remain objective and distanced, but that doesn't seem to be in my toolbox, somehow.
I get around OK with a toolbox. As a kid, I picked up skills following my dad through the oil fields of Oklahoma and West Texas. My wife Janine is hard to impress, but she does think it's cool when I fix things around the house.
That's a great golden nugget that's going in my tactical toolbox
I think the emotional toolbox I have is healthy for an actor, as far as the intensity of emotions go. It's other things I have to hone. I can swim in that comfortably.
I would say that I have been consistent in my broad view of how American power should be deployed, and the view that we underestimate our power when we restrict it to just our military power. We shortchange our influence and our ability to shape events when that's the only tool we think we have in the toolbox.
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