A Quote by John Dewey

To have an idea of a thing is not just to get certain sensations from it. It is to be able to respond to the thing in view of its place in an inclusive scheme of action; it is to foresee the drift and probable consequence of the action of the thing upon us and of our action upon it.
It's not fundamentally different to any other genre, that action is a particular thing. Being able to do action sounds like it should be straightforward, but it really isn't. I always want the action to be witty. I don't want it to be merely routine.
[Action's] a Western thing. We think of the hero going into battle, rebelling against a government or an oppressor, but [in KUNDUN] action is nonaction or what appears to be nonaction. That's a hard concept for Western audiences. . . . We wanted to show a kind of moral action, a spiritual action, an emotional action. Some people will pick up on it; some won't.
Action can only be understood in relation to place; only by staying in place can the imagination conceive or understand action in terms of consequence, of cause and effect. The meaning of action in time is inseparable from its meaning in place.
In order for us to be able to love, we need to have faith, because faith is love in action and love in action is service. In order for us to be able to love, we have to see and touch. Faith in action through prayer, faith in action through service: each is the same thing, the same love, the same compassion.
Normally, the action is just a gratuitous thing. In the case of Bourne, he was going to learn about himself in the action scenes.
Then, if action is possible or necessary, you take action or rather right action happens through you. Right action is action that is appropriate to the whole. When the action is accomplished, the alert, spacious stillness remains.
On a simple level, you need directors who are good at action and can choreograph an action scene, but you need them to also have that sense of fun and that sense of movement and that ability to get the actors to really respond to the material in the way that you want them to. It's a very big thing.
I try to stay away from stuff that's just action, action, action, action, action, and you kind of fast-forward through the dialogue scenes. I'm not interested in doing that. Give me a reason to fight, and I'll go there. But don't just make it, 'You touched my pen! Haaa-yah!' I've done that before.
We always talked about the sequel to 'Clown' being called 'Clowns,' like an 'Alien'/'Aliens' sorta thing, where you have multiple clowns. And just really make it, in the way that 'Aliens' was an action movie, do the same thing. Action-horror. That would be great.
If everybody did just one thing. Just one thing. Not even a great thing. Not a world-changing thing, just one blessing, just one act of living kindness. The effect of each caring action, no matter how seemingly small, brings blessings into the lives of others. There may be no greater or more important thing that we can do at this instant.
It's the action, not the fruit of the action, that's important. You have to do the right thing. It may not be in your power, may not be in your time, that there'll be any fruit. But that doesn't mean you stop doing the right thing. You may never know what results come from your action. But if you do nothing, there will be no result.
The whole idea of action being a carrier of information is something that comes directly from theater. That's, in some ways, the one thing I've been trying to contribute. I still write things outside of architecture - not really fiction, but not nonfiction. I like dialogue as a form, because the text is only the trace of an action. The consequential information is carried in the action you choose to put on that text.
When I do an action thing, it speaks louder than the things that I've done that are dramatic and comedy. Actually, if you look at my resume, I have just as much comedic things as dramas, and I have far less action things than all of the other things, but I'm kind of defined as an action person.
. . . it is true that language and forward movement in the cinema are jolly hard to reconcile. It's a very, very, difficult thing to do. . . . There is still a place in the cinema for movies that are driven by the human face, and not by explosions and cars and guns and action sequences . . . there's such a thing as action and speed within thought rather than within a ceaseless milkshake of images.
When you choose an action, you choose the consequences of that action. When you desire a consequence you had damned well better take the action that would create it.
The thing about action films is that they are high on drama in terms of action sequences, have songs and other things, but content is secondary.
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