A Quote by ContraPoints

That's one thing I learned in my philosophy training - if you're writing a paper on Aristotle, you have to first show that you understand him. Then you can make your counterargument.
Writing is simple. First you have to make sure you have plenty of paper... sharp pencils... typewriter ribbon. Then put your belly up to the desk... roll a sheet of paper into the typewriter... and stare at it until beads of blood appear on your forehead.
I don't understand the feeling of, the way people speak of writing as though it were, like, some kind of djinn to be summoned or like it's the Loch Ness monster or seeing a shooting star. It's a physical act. It is a thing you do with your muscles and your body and your willpower. Watch, I'll show you: get a piece of paper. Get a pencil. Put the pencil on the paper and write the word 'something.'
It's the first thing I tell my students: If you could understand, really understand, that no one needs to read your work, then your writing would improve vastly by the time we meet in this classroom again.
That is what it is like with Pep. At first, you don't understand. But then you grow up, you work, and now we understand the things he wants much better. It's not like the first season when it took him more time to make us understand his ideas. Some players didn't understand immediately what he wanted.
Writing is like the relationship with your bowels. First you can, then you can't. Finally, you must. Only then should you reach for the paper.
Aristotle maintains that the neck of the Lion is composed of a single bone. Aristotle knew nothing at all about Lions, a circumstance which did not prevent him from writing a good deal on the subject.
Through Plato, Aristotle came to believe in God; but Plato never attempted to prove His reality. Aristotle had to do so. Plato contemplated Him; Aristotle produced arguments to demonstrate Him. Plato never defined Him; but Aristotle thought God through logically, and concluded with entire satisfaction to himself that He was the Unmoved Mover.
When a young artist asked me for advice on drawing the human foot, I told him, ‘The first thing you must learn is how to take your shoe off, and then how to take your sock off, then prop your leg up carefully on your other knee, take a piece of paper, and draw your foot.’
Hendrix was back there with a few of the others who were like my training wheels ... hearing him as a teenager taught me to look at the guitar in a different way - and how to tap into that thing inside of me that was already leaning toward improvisation. You learn other players' licks at first; then you take off the training wheels and start using the licks as building blocks to make your own thing. That's how influences work. somewhere in whatever I do, there's a little bit of Hendrix - plus about a hundred others
I learned first of all not to be intimidated by any visual effects that I don't understand. It can all be learned. You can then use them as tools to tell your story. I also learned that you have to be really vigilant, the more complex the movie, to not lose yourself and to not lose sight of the priority.
If you love Alex now, then love him forever. Make him laugh again, and cherish the time you spend together. Take walks and ride your bikes, curl up on the couch and watch movies beneath a blanket. Make him breakfast, but don't spoil him. Let him make breakfast for you as well, so he can show you he thinks you're special. Kiss him and make love to him and consider yourself lucky for having met him, for he's the kind of man who'll prove you right.
I come out of journalism, and then book writing. There, it's just you and your editor and maybe a copy desk, looking over your editor's shoulder, and that's the story. It's right there. I can show it to you because it's on paper.
I always make it a rule to let the other fellow fire first. If a man wants to fight, I argue the question with him and try to show him how foolish it would be. If he can't be dissuaded, why then the fun begins but I always let him have first crack. Then when I fire, you see, I have the verdict of self-defence on my side. I know that he is pretty certain in his hurry, to miss. I never do.
In the information age, you don't teach philosophy as they did after feudalism. You perform it. If Aristotle were alive today he'd have a talk show.
There were a lot of lessons of production to be learned. On the page, the biggest thing you learn on any TV show is how to write to your cast. You write the show at the beginning with certain voices in your head and you have a way that you think the characters will be, and then you have an actor go out there, and you start watching dailies and episodes. Then, you start realizing what they can do and what they can't do, what they're good at and what they're not so good at, how they say things and what fits in their mouth, and you start tailoring the voice of the show to your cast.
When I was 15, I had a crush on this guy who was really good at magic, and so I learned to juggle, thinking it would impress him. I spent hours and hours practicing, planning to show him. And then I never even saw him again. But at least I learned how to juggle.
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