A Quote by Bret Easton Ellis

Where there was nature and earth, life and water, I saw a desert landscape that was unending, resembling some sort of crater, so devoid of reason and light and spirit that the mind could not grasp it on any sort of conscious level and if you came close the mind would reel backward, unable to take it in. It was a vision so clear and real and vital to me that in its purity it was almost abstract. This was what I could understand, this was how I lived my life, what I constructed my movement around, how I dealt with the tangible.
When the mind is not only silent, but that part of the mind that could become conscious that the mind is silent dissolves in light, then we see and feel purity. We become it, the purity of the eternal light.
It was thought, perception, sensations that interested her, the conscious mind as a river through time, and how to represent its onward roll, as well as all the tributaries that would swell it, and the obstacles that would divert it. If only she could reproduce the clear light of a summer's morning.
Let your mind see every detail of your own special version of the very best that life can be. If you could make the world exactly to your liking, consider very specifically just how that world would be. If you could spend your time doing precisely what you wish, how would the moments of your life be lived?
I was really intrigued by how - sort of the common themes and sort of the blend among music, and that was sort of my real interest was, at one point, musically, was how you could weave those different kinds of songs and traditions together.
Like so many addicts, I'd thought that if I could only sort out my life, I could then sort out my drinking. It was a revelation to see that it would be simpler the other way around
I'm really not trying to do everything that comes to mind because that's when it can be dangerous. For instance, I believe as much as possible, how your camera moves and flies around should be limited to the physics of how you could do it in real life.
These dreams reminded me that, since I wished some day to become a writer, it was high time to decide what sort of books I was going to write. But as soon as I asked myself the question, and tried to discover some subject to which I could impart a philosophical significance of infinite value, my mind would stop like a clock, my consciousness would be faced with a blank, I would feel either that I was wholly devoid of talent or perhaps that some malady of the brain was hindering its development.
I really enjoyed the sort of real crazy, eclectic layering stuff and how it all worked together. I could tell it was some of it was derivative of something. I could tell that certain things were being looped around and I just really enjoyed the way that it all came together.
In spite of all these disquieting triumphs in the field of natural science, it's astonishing how little man has learned about himself, and how much there is to learn. How little we know about this brain which made social evolution possible, and of the mind. How little we know of the nature and spirit of man and God. We stand now before this inner frontier of ignorance. If we could pass it, we might well discover the meaning of life and understand man's destiny.
The biggest considerations I had were practical: how do you move such a large number of actors around a small space? So, for example, if I have to have the mother bring a pot of tea from the kitchen to the living room and serve it to the others, how do I, on a practical level, get everyone into the frame? Any decisions I made about the camera angles or movement came out of necessity, versus any sort of stylistic choice.
Inspiration is everywhere - life, travel, childhood, nature - it depends on how you see it, how you can absorb the inspiration, and it depends on how your mind thinks. It could be a pattern on the floor that may be the next pattern I put on a cake, it just depends upon how you take it, when you're seeing it and what you're looking for.
The practice of celibacy alone was opening me up to a deeper sense of the way the mind-body connection works. I saw over and over that my mind and body could be filled with desire and that no matter how intense the craving was it would always pass. I didn't have to satisfy every desire that arose in my mind. I began to understand impermanence through direct experience rather than just intellectual theory.
People could achieve much more if only they would put in more effort. You must take responsibility for your own life. Be conscious of how you use your time! Be conscious of how you listen! Be conscious of how you manage all of your affairs, so that God can look upon you and be well pleased. Seek God's honor in everything you do.
The movie that we could've finished in 2001 would've sucked. The movie that we could've finished in 2002 would've just been a disaster, even into 2003, it would've been very cobbled together, amateuristic stuff. But as we went along, we really did stumble upon some accidental themes, and with the things you could do with computers, and all that sort of stuff just sort of really accelerated into where the stuff that we could do right here at my house became - you could almost do anything.
Death has its revelations: the great sorrows which open the heart open the mind as well; light comes to us with our grief. As for me, I have faith; I believe in a future life. How could I do otherwise? My daughter was a soul; I saw this soul. I touched it, so to speak.
Sometimes I'll have an end in mind, but it's always false, always corny, just a dumb idea anyone could have, sitting on a barstool. An abstract thesis with no real life inside it. And then I start writing and the writing itself confounds me, taking away the comfort of knowing the end in advance. How is that even possible? Doesn't the conclusion come at the end? How can you begin with one - that seems odd, right?
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