A Quote by China Mieville
Remember the movements that don't look like moving.
Related Quotes
I think that a lot of social movements, political movements, powerful ones - certainly they form, collectively, an idea of the truth which becomes hard to question. It becomes a dogma, and from the inside it starts to look like common sense.
The emotion is the execution of a very complex program of actions. Some actions that are actually movements, like movement that you can do, change your face for example, in fear, or movements that are internal, that happen in your heart or in your gut, and movements that are actually not muscular movements, but rather, releases of molecules.
Hip-hop in the '90s began moving towards the Nation of Islam and the 5 Percenters, black nationalist movements; very much so, these movements embraced a form of Islam: Malcom X's form of Islam prior to his change.
People say you never remember anybody who dies in movies, and it's true, you don't. You don't even remember people who disappear. Although the moment that it happens might be terribly sad and moving, five minutes later, if you're asked to remember that person, you go, "Oh right, yeah, yeah!" 'Cause you're just moving forward.
What's more important is that we talk about movements; change happens through movements. The movement to end slavery, the movement to bring justice for those who have been left out of the system, movements to include women, movements around sexual preference - all these movements brought about change.
Look at what you want to change, gather a few people who believe in it like you do, and start moving forward. It's important to remember that you don't always need a destination. Sometimes, you just have to make forward motion. And you absolutely can.
I think you have to remember that the people that are really muscly and toned at the gym started somewhere. You have to remember that they didn't always look like that, so when you're in there, don't look at them and feel intimidated.
When you shoot a scene, you remember every moment. You remember when your head went down, your head went up. You don't see little quirks, little eye movements, little lip movements. Once again, you become completely vain when you're watching it in a way that you weren't when you were shooting it. And the vanity, what it makes you focus on are everything that has nothing to do with the scene and everything to do with your own ego.
The apex of perfection in equestrian art is not an exhibition of a great deal of different airs and movements by the same horse, but rather the conservation of the horse's enjoyment, suppleness and finesse during the performance, which calls for comparison with the finest ballet, or performance of an orchestra, or seeing a play by Racine, so moving is the sight of perfectly unisoned movements.
When you start to do research into gorillas or any kind of apes, if you're going to play them, that's one of the biggest misconceptions. And when I did Kong, you're not doing gorilla movements, you're not doing ape movements, you're looking for a personality. It's like saying okay I'm going to do human movements.
I've often tried to describe how memory works. I've suggested this to students, and told them to close their eyes and try to remember what I look like. Then I ask them if they remember what I look like. But when you open your eyes you will be surprised how different what you thought I looked like is to what I actually look like. Because the imagination is a different raw material from actual vision. Memory is very different from the thing itself.
I notice how it takes a lazy man, a man that hates moving, to get set on moving once he does get started off, the same as when he was set on staying still, like it aint the moving he hates so much as the starting and the stopping. And like he would be kind of proud of whatever come up to make the moving or the setting still look hard. He set there on the wagon hunched up, blinking, listening to us tell about how quick the bridge went and how high the water was, and I be durn if he didn't act like he was proud of it, like he had made the river rise himself.
We're talking about the Communist Party, the Socialist worker's movement, those movements basically have been underlined. We have other movements, but they're not as powerful as the movements that we had then.
I remember moving to California and feeling so strange because I'd always seen myself moving to New York.
We know that from the studies, like the Gilens and Page study out of Northwestern and Princeton, if you didn't know it from real life. We're not moving forward, we're moving backwards, and the clock is ticking on this, whether you look at climate or the expanding wars.
The West sees liberation movements as terrorist movements, and that is why I am accused of supporting terrorism: because I support liberation movements.
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