A Quote by Caris LeVert
I've always felt like I've had the tools to be a good defender - long and quick, still working on my strength - I feel like I've had the tools, I just have to go out there and do it.
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It's not the tools that you have faith in - tools are just tools. They work, or they don't work. It's people you have faith in or not. Yeah, sure, I'm still optimistic I mean, I get pessimistic sometimes but not for long.
My degree was in sculpture. I always think that drawing is a sculptural process. I always feel like I'm carving the image out rather than painting the image. I'm carving it out with erasers and tools like that. I've always had this fondness for sculpture.
What that book does for me is give me the tools in the same way that I had the tools when I learned the regular scales or the alphabet. If you give me the tools, the syntax, and the grammar, it still doesn't tell me how to write Ulysses.
I've always felt I had the ability to be a good, elite defender in this league on the wing. I just need to lock in. I feel if I pick that up, I can be a very good all-around player.
The best thing we can do is give students the tools for constructing their own identities - powerful new tools like African fractals - and then just get out of the way.
I can make just such ones if I had tools, and I could make tools if I had tools to make them with.
Dena had always been a loner. She did not feel connected to anything. Or anybody. She felt as if everybody else had come into the world with a set of instructions about how to live and someone had forgotten to give them to her. She had no clue what she was supposed to feel, so she had spent her life faking at being a human being, with no idea how other people felt. What was it like to really love someone? To really fit in or belong somewhere? She was quick, and a good mimic, so she learned at an early age to give the impression of a normal, happy girl, but inside she had always been lonely.
The good thing about Pro Tools is you can actually hear what you're working on, so it doesn't just become this intellectual idea. But Pro Tools can be dangerous, too. It can make things sterile.
I feel like the beauty of this age of filmmaking is that there are more tools at your disposal, but it doesn’t mean that any of these new tools are automatically the right tools. And there are a lot of situations where we went very much old school and in fact used CG more to remove things than to add things.
I have the tools and the size to be a good defender. I've just got to be able to put it all together.
We make tools for people. Tools to create, tools to communicate. The age we're living in, these tools surprise you. ... That's why I love what we do. Because we make these tools, and we're constantly surprised with what people do with them.
Technology sometimes gets a bad rap because of certain consequences that it's had on the environment and unforeseen problems, but we shouldn't use it as an excuse to reject our tools; rather, we should decide that we need to make better tools to solve the problems caused by the initial tools in a progressive wave of innovation.
It's much easier to become a hacker now. It was a private community before and you had to find your way in, like tumbling down a rabbit hole. Today, there are all-in-one desktops fully equipped with tools pre-built into the operating system, all related to hacking. They are all very powerful tools and free to download.
The Catcher in the Rye had such a deep impact on me, because it felt like it was just Holden and me. I didn't feel like any other person had read that book. It felt like my secret. Writing that I identify with feels like it's just me and the writer. So I hope that whoever is reading what I do feels like that.
It had nothing to do with gear or footwear or the backpacking fads or philosophies of any particular era or even with getting from point A to point B. It had to do with how it felt to be in the wild. With what it was like to walk for miles with no reason other than to witness the accumulation of trees and meadows, mountains and deserts, streams and rocks, rivers and grasses, sunrises and sunsets. The experience was powerful and fundamental. It seemed to me that it had always felt like this to be a human in the wild, and as long as the wild existed it would always feel this way.
I just felt like, you know, I read a lot of scripts out in L.A., out here in the industry and I just felt like this film was just being genuine. I just felt like it had really great characters. And all the three different characters have completely different stories and they're all kind of intertwined together thematically. So I just thought it had great characters, great themes
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