I began to appreciate that authentic truth is never simple and that any version of truth handed down from on high - whether by presidents, prime ministers, or archbishops - is inherently suspect. The powerful, I came to see, reveal truth only to the extent that it suits them.
In media terms, the camera always lies, providing an edited version of reality.
If anyone can show me ... that there is any reason - other than fear - to believe in any version of an afterlife, I'll give you my piano, one of my legs, and my wife.
There's a lot of talk in some of the other versions of the Bible, the Hebrew versions, and things about the end of the world not being a punishment from God, but being an invitation from mankind. That mankind has to invite its own destruction. And I think that's very true, and it's almost very American. I think that's the type of society we're in and it's people's very fear of the Antichrist that has created it
What the historian Elie Kedourie called "the Chatham House Version" - that toxic amalgam of smugness, moral relativism, and cherished feelings of guilt about the achievements of Western civilization - everywhere nurtured the catechism of established opinion.
I definitely want to work with people who are artists and who are interested in being their best version of themselves.
The best version of comedy is when you can get to an issue where, at some point, you're not firmly on one side or the other, and you can see both sides. The more we become about the issues, the more successful we are.
Usually you always see first cut is an extended version, because it's basically everything you shot, and you have that version and then you start cutting stuff out.
Definitely my favorite cut is the one that got put out. That's my favorite version of the film, the one that I put in theaters. That's my directors cut, there's no question about it.
It's funny what [producer Richard Zanuck said about even though you can't quite place when the book or the story came into your life, and I do vaguely remember roughly five years old reading versions of Alice in Wonderland, but the thing is the characters. You always know the characters. Everyone knows the characters and they're very well-defined characters, which I always thought was fascinating. Most people who haven't read the book definitely know the characters and reference them.
We also have a piece about the Mayflower, but it's just a very different, very gritty, very character-driven version of why those people were on that boat and what the experience was like for them, emotionally, physically and spiritually, and also the Native Americans and what the state of Native American society was at that time.
The Taboo scene was a kind of deconstructed version of the New Romantics. The Taboo crowd was using a lot of the visual ideas that had already been used. I remember the first time I spotted Leigh Bowery and Trojan parading around in clubs: They were in their "Pakis from Outer Space" look, and the makeup was quite similar to one of my old looks, because I was quite fond of wearing blue, green, or yellow foundation, and so I was pretty dismissive of them at first.
So it's an interesting process just going through and seeing what works and what doesn't work, and what's the best version of it. It was a good process because I think we all collectively, when everyone would run into issues in the cut or know that things weren't working, they kind of glaringly stuck out so we could focus on fixing those things and it wasn't a situation where you would show it to ten people and you would have ten problems.
When I first raised the issue of the so-called Islamic State at the Munich Security Conference in February, speaking about its economy, its flexibility and pathology, people thought I was trying to scare them. But now we have experienced just that. If al-Qaida was version 2.0 of terror, then the Islamic State is version 5.0.
I wrote six versions of a 30-second tease for an NBA game. You never get it right on the first try.
I'm the rap version of Dave Chappelle. I'm not sayin' I'm nearly as talented as Chappelle when it comes to political and social commentary, but like him, I'm laughing to keep from crying.
I get to listen to a lot of this music again doing my DJ work on Little Steven's Underground Garage. To hear Van [Morrison] on Them's version of "It's All Over Now, Baby Blue"- what a vocal, and what an arrangement. Also, I get to hear so many records that I missed the first time around - The Chocolate Watchband, Roky Erikson. It's an audio food fest, a total privilege, a second chance.
When you finally realize that peace is your natural state of being then you will know that any form of non-peace is a belief in illusion. Illusion that anything should be something other than what it is which can never be so. What if instead of waiting for what isn't to become your version of what is, why don't you be peaceful right now while you alter what isn't for you if you so choose? Is it ever worth it to wear a cloak of non-peacefulness over God Brilliance?
Josh [Gad] is such an amazing improviser and is so good when the material is flowing from him that sometimes, if a written scene isn't working quite right, I'll tell him that we've got it and that he can just play. He'll blow us away with some super weird stuff and some wild things that we might use bits and pieces of in the edit, and then I'll say, "Just for good measure, let's do one more of the scripted version."
I don't know how that budget would have been worked out, but that was the initial idea. Obviously, we couldn't have had a show with nine expensive actors in it. It was very nice that they were even interested in doing that. But, I was so proud of what we'd done that I couldn't think of a compelling reason to do a lesser version of it.
I was trying to get the slightly more cinematic version of my relationship with my mom, which I think was a really common relationship. I adored my mom. I thought she was the best. I loved her very much.
I've played a bunch of different versions of Walter [from "Fringe"]... I loved it when he was being random, which was probably the original version of him, more than anyone else. I loved doing Walter then, and all of the different mental states that we've played.
I didn't drop into the mannerisms of another version of the character, but I guess I was pretty alert to that.
I loved playing Walternate because he was completely the same character, version 1985, and then it developed in such a different way, physically and mentally. So, to be able to play that, in the same television series, as playing the other ones was a fantastic gift for me.
I love having played Walter because I suppose any actor brings a certain aspect of their own personality to their work, and I had a fairly broad canvas to paint on with the different versions.
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