A Quote by Bryan Kest
I do not believe you could intellectually comprehend all the different forces playing upon us. Yet what you can do is become very silent, so you are not distracted and then begin to feel how these forces playing upon us are affecting us, and according to how we feel, we can then make intelligent decisions as to how far, how deep, how much, we explore in any pose.
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I feel very strongly that the significance of 9/11 cannot be underestimated. It forces us to think in new ways about strategy, about national security, about how we structure our forces and about how we use U.S. military power.
Sexuality is a place where people are very vulnerable and can be experiencing and embodying very raw forces that they don't really understand and there's a question of how much you should control and how much you should play with those and what those forces really are, how you really feel about them. That's perennial.
Learning about crime in great detail forces us to ask ourselves how it happened, how the victims and perpetrators got to that point, how the law works, how the police force functions.
We are confident. We have ourselves. We know how to sacrifice. We know how to work. We know how to combat the forces that oppose us. But even more than that, we are true believers in the whole idea of justice. Justice is so much on our side, that that is going to see us through.
The deeper reality is that I’m not sure if what I do is real. I usually believe that I’m certain about how I feel, but that seems naive. How do we know how we feel?…There is almost certainly a constructed schism between (a) how I feel, and (b) how I think I feel. There’s probably a third level, too—how I want to think I feel.
May we realize how close to us He is willing to come, how far He is willing to go to help us and how much He loves us.
You can feel how the audiences react. For us, it's about the performance and the reaction. We feed off the energy. And no matter how enthusiastic they are, we can tell if we're playing well or not.
Write down how you really feel, not how you wish you felt or how you think you should feel, but how you really feel. Don't try to change it. Honor it: "This is how I feel." Express it, and then it's not suppressed and stored somewhere in your liver or somewhere else.
All we can do as women is make the best decisions for us. And that includes everything from how you look to how you dress to whether you choose to stay at home or work when you have kids. All those decisions are so personal, and we have to start with finding what brings us joy and what brings us our own individual confidence. And if we're feeling good with those choices, then it makes what everybody else has to say less important.
On to the Next Dream became about much more than me facing a challenging situation; it became about how all of us feel when we're thrust unexpectedly into change. It's about how we all hold onto personalized visions of our lives, our city, and our culture, and what we do when reality forces us to confront the impermanence of those visions.
It is one of those simple but beautiful paradoxes of life: When a person feels that he is truly accepted by another, as he is, then he is freed to move from there and to begin to think about how he wants to change, how we wants to grow, how he can become different, how he might become more of what he is capable of being.
What interests us in operations of striation and smoothing are precisely the passages or combinations: how the forces at work within space continually striate it, and how in the course of its striation it develops other forces and emits new smooth spaces.
It is the forces of the universe that make human beings fall ill. Having learnt to recognize how sun qualities and moon qualities live in plants, animals and minerals, we discover how we can find counterforces and also individual natural forces that point us towards medicines for specific internal illnesses.
Great fiction shows us not how to conduct our behavior but how to feel. Eventually, it may show us how to face our feelings and face our actions and to have new inklings about what they mean. A good novel of any year can initiate us into our own new experience.
What does it matter how cultivated and up-to-date we are, or how many thousands of books we’ve read? What matters is how we feel, how we see, what we do after reading; whether the street and the clouds and the existence of others mean anything to us; whether reading makes us, physically, more alive.
When you're playing someone that's real, there is that hanging weight of how will they feel when they see this: will I make them feel exposed in some way, and how do I absolutely avoid doing that while playing this as accurately and empathetically as I possibly can?
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