A Quote by Bernard Williams

If there's one theme in all my work, it's about authenticity and self-expression. It's the idea that some things are, in some real sense, really you - or express what you and others aren't.
Many roads open pathways to authenticity. For some it is disciplined practice, for others revelation, for others service. Regardless of how we get in touch with authenticity or how authenticity gets in touch with us, the engagement is ongoing and forever challenging.
We talk about self-expression but need to pause and remember that self-expression requires a self to express.
I suppose everyone continues to be interested in the quest for the self, but what you feel when you're older, I think, is that ... you really must make the self. It is absolutely useless to look for it, you won't find it, but it's possible in some sense to make it. I don't mean in the sense of making a mask, a Yeatsian mask. But you finally begin in some sense to make and choose the self you want.
Flowers have an expression of countenance as much as men or animals. Some seem to smile; some have a sad expression; some are pensive and diffident; others are plain, honest and upright, like the broad faced sunflower and the hollyhock.
The beautiful thing about podcasting is it's just talking. It can be funny, or it can be terrifying. It can be sweet. It can be obnoxious. It almost has no definitive form. In that sense it's one of the best ways to explore an idea, and certainly much less limiting than trying to express the same idea in stand up comedy. For some ideas stand up is best, but it's really, really nice to have podcasts as well.
Why are some things remembered and others forgotten? That is the theme I want to pursue about the Second World War.
I think a lot of people may have a unique insight or some idea that they feel could be a great solution for a particular problem, but for some reason never have a chance to try or never have the courage or maybe the self-doubt. Really, it's best just to remain naive and continue to work on things and see if people have the same problems.
Some authors write nonsense in a clear style, and others sense in an obscure one; some can reason without being able to persuade, others can persuade without being able to reason; some dive so deep that they descend into darkness, and others soar so high that they give us no light; and some, in a vain attempt to be cutting and dry, give us only that which is cut and dried. We should labor, therefore, to treat with ease of things that are difficult; with familiarity, of things that are novel; and with perspicuity, of things that are profound.
In order that people may be happy in their work, these three things are needed: They must be fit for it: they must not do too much of it: and they must have a sense of success in it - not a doubtful sense, such as needs some testimony of others for its confirmation, but a sure sense, or rather knowledge, that so much work has been done well, and fruitfully done, whatever the world may say or think about it.
My idea about collections is that you write as hard as you can for some period and what you're really doing during that time is hyper-focusing on the individual pieces - trying to make each one sit up and really do some surprising work.
There are some things about myself I can’t explain to anyone. There are some things I don’t understand at all. I can’t tell what I think about things or what I’m after. I don’t know what my strengths are or what I’m supposed to do about them. But if I start thinking about these things in too much detail the whole thing gets scary. And if I get scared I can only think about myself. I become really self-centered, and without meaning to, I hurt people. So I’m not such a wonderful human being.
A lot of us have all sorts of ideas, and we select some rather than others and give expression to those... and some works of art are more successful than others. Some languish in obscurity and are never heard of again, while others form the foundation of a whole school of art.
We appear to be programmed with the idea that there are 'things' outside of our self, and some are conscious, and some are not.
Feel eternity around you. Not as an idea, not as a nice intellectualization, but to really feel it; not to be some religious fanatic who's strung out on some weird idea of salvation to the exclusion of common sense.
I did it [photojournalism] as something that was really rewarding to do, given the opportunity to express myself about something I cared about, and also to learn a lot by watching filmmakers I admired. In a sense, it was my film school. After doing it for a few years, I decided that the time had come to get it together and do some work of my own. So I stopped doing that and wrote some screenplays on speculation, because even though I wanted to direct, to direct you need a lot of money.
Some things are really necessaries of life in some circles, which in others are luxuries merely and in others still are entirely unknown.
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