A Quote by Jonathon Keats
I think that in the first place, why we can get excited about [Buckminster ] Fuller, why it's plausible that people might - why my publisher would publish this book [You belong to the universe] about it long after he's dead and irrelevant by many standards has to do with the fact that he was in a sense coming up with this job for himself that is the job that we now refer to when we speak about world change.
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People say, 'Why don't you do interviews? What do you think about this? What do you think about that?' My job in the band is to play drums, to get up on stage and hold the band together. That's what I do. At the end of the day that's all that's important. Everything else is irrelevant.
When I find too many puzzles about the way explanations are given about why there is inequality - why people who work the hardest in the world end up being the poorest - I can't just sit back and not try to understand why the gaps between people are increasing, or why there are so many homeless and hungry people in the world.
If I just got up in the morning and had no place to go and was retired or something, I would be sitting there and be thinking, "Gee, what is the purpose of life? Why are we all finite? Why do we get old and die? Is there nothing out there? Why is it so tragic? Why do our loved ones perish? Why do we generate?" Who wants to think about that stuff?
My favorite thing about acting is you have to learn how to work with people that you probably would never try to. Some people just aren't supposed to be in a room together, and you have to be in a room with a group of people who might not all get along and you have to figure out how to come together for one thing. That collaboration is special, and people don't get to exercise that. I think that's why people become stubborn, and I think that's why people become uninspired to change. In this job you have to.
writing is about doing something very close to the bone. It's about shocking yourself. When I write, I like to make myself cry, laugh - I like to give myself an experience. I see a lot of writing out there that's very safe. But if you're not scaring yourself, why would you think that you'd be scaring anybody else? If you're not coming to a revelation about your place in the universe, why would you think anyone else would?
The book Forest Dark wants to provoke questions about what is reality and why are we so given to believe that reality is firm and unbendable. There's a whole host of questions that the book is asking about that. Why do we believe that the world is only one way and as we see it? Why are we not open to the ways in which it might be otherwise.
Schools and parents can team up to find books that kids will really get excited about - that will make them say, 'That was a great experience. Now I know why people get excited about reading.'
Some people think it's psuedo-science, but it's called morphic resonance. It's when someone thinks of an idea, it makes it easier for someone else to think of the idea. That's why you should do crossword puzzles later in the day, because other people have thought about the answers. That's why you hear about people coming up with inventions almost at the same time, because someone else is thinking about it. That's why whenever I have a really good idea, I'm always worried about theft.
The Tories have built a system defined by insecurity - from wages to job contracts to housing to the welfare state. If they want to understand why socialism - long dead, never coming back, or so they thought - has undergone a revival, this is why.
Actors very often are people who think it's always about 'me,' and I can see why! No one else is going to support you or say, 'Gosh, I'm sorry about that,' or, 'Here, let me give you a job.' It doesn't happen that way. You can see why performers get very self-absorbed.
['John F. Kennedy] movie is based on a massive best-selling book, which is always helpful. And then the script was amazing and answered my question, "Why this? Why now?" And the "why now" is that it's 50 years since the assassination, and the country needs to have and will have a conversation about that. And the "why this" is the construct, which I think is sort of ingenious.
I can't tell you how many people would say to me as a teenager, 'Why don't you grow up and start thinking about getting a real job?
I can't tell you how many people would say to me as a teenager, 'Why don't you grow up and start thinking about getting a real job?'
People say to the mentally ill, ‘You know so many people think the world of you.’ But when they don’t like themselves they don’t notice anything. They don’t care about what people think of them. When you hate yourself, whatever people say it doesn’t make sense. ‘Why do they like me? Why do they care about me?’ Because you don’t care about yourself at all.
When I play the first few notes of a song and people start screaming, I think: 'That's why I did this. That's why I wrote this song. That's a good job.' And it is a job.
There's a misconception about girls accusing people of sexual assault. There's this sense of, Well, she might be lying, she might be telling the truth, it's really a he-said, she-said. But it turns out if you study the cases, something like 97 percent of the cases are actually true. And you think about it common sense - wise: Why would a young girl or a woman bring this attention upon herself? It's nonsensical. It sets up a binary equation where, in fact, if a girl makes that accusation, she's usually not lying about it.
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