A Quote by Audrey Tautou
I think that when you create something or at least try to create something, you slither between excitement and pleasure and you understand this huge emotional frustration. You did one feat, then you go back one.
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I think my comedy's probably the same as my art, which is kind of abstract, impressionist, emotional. You create an emotion and then you knock it down. You take something the way people are expecting it to go, and then give it a different conclusion.
You can create meaning where there was none, you can create feeling where there was none, you can create narrative where there was none. Two frames can be the difference between something that works and something that doesn't. It's fascinating.
Karma is not something pessimistic. If you think of karma as something wrong, you are seeing karma only according to what happened in the past. You look at the past and karma becomes a monster. So you should also look at karma in the present and future. Then karma becomes something very wide and really alive. Through karma you can understand what your destiny is. Destiny itself has no solid form; it's something you can create. You can create your life. That is why we study karma.
I guess those of us who have been with NASA kind of understand the tremendous excitement and thrills and celebrations and national pride that went with the Apollo program is just something you're not going to create again, probably until we go to Mars.
I need time, but as soon as possible, we are going to try to create team spirit. That is the most important thing. After that, you can create tactics, but we have to create something special with ourselves.
When we create something, we always create it first in a thought form. If we are basically positive in attitude, expecting and envisioning pleasure, satisfaction and happiness, we will attract and create people, situations, and events which conform to our positive expectations.
There's nothing else exactly like it in any other art form, the orchestration of so many different elements. It's endlessly fascinating what can be done editorially. You can create meaning where there was none, you can create feeling where there was none, you can create narrative where there was none. Two frames can be the difference between something that works and something that doesn't. It's fascinating.
I think if a man can create something like an atom bomb, he can surely create something with his own mind.
You should make something. You should bring something into the world that wasn't in the world before. It doesn't matter what it is. It doesn't matter if it's a table or a film or gardening-everyone should create. You should do something, then sit back and say, 'I did that.'
Create all the happiness you are able to create; remove all the misery you are able to remove. Every day will allow you, --will invite you to add something to the pleasure of others, --or to diminish something of their pains.
What I try to do is create an energy, create an excitement, but at the same time keep everybody focused and realize it's still just a game, that we have to move the football.
Eventually, I realised that I wanted to try to create something myself, and that's what writing novels is. Not because I wanted to put myself in front of the world, but because I wanted to create something that would go out into the world.
Nature is so huge. I mean, you can't even look one way! Everything is huge. That was my natural instinct, to create huge art, to create huge pieces. And to me, I still could create bigger works. The opportunity doesn't come along to do anything any bigger. So I've worked as big as I've had the opportunity to work, basically.
To understand something, whether we are aware of it or not, depends on choosing a model. We get to understand what we see by comparing it with something else, something that we think we understand better. But what we compare it with turns out to have a huge influence on the outcome.
When I started, the scripts weren't as good, and you'd have to have a huge burst of energy to go, "Sheesh, how am I going to? This stuff's no good." So you'd have to improvise something or create something or try to work with the ware and try to figure out, how do you make this visually and orally acceptable, entertaining? Nowadays, the scripts are just so much better, that you don't have to feel that way. You feel like the script's coming to you, you can just relax. You don't have to drive the boat.
From somewhere, back in my youth, heard Prof say, 'Manuel, when faced with a problem you do not understand, do any part of it you do understand, then look at it again.' He had been teaching me something he himself did not understand very well—something in math—but had taught me something far more important, a basic principle.
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