A Quote by D. H. Lawrence

Mankind has got to get back to the rhythm of the cosmos. — © D. H. Lawrence
Mankind has got to get back to the rhythm of the cosmos.
Protestantism came and gave a great blow to the religious and ritualistic rhythm of the year, in human life. Non-conformity almostfinished the deed.... Mankind has got to get back to the rhythm of the cosmos, and the permanence of marriage.
You've got the same rhythm every day just to keep you going. So once that rhythm is broken, it's kind of hard to get back with it when you got a lot of things going on.
Writing is so much about rhythm. If you've got another rhythm in the room, it spoils the rhythm of the words.
Where I come from we say that rhythm is the soul of life, because the whole universe revolves around rhythm, and when we get out of rhythm, that’s when we get into trouble.
Some games you're going to be able to get rolling, you're going to get in a good rhythm, you're going to be able to get open looks. Other games, sometimes the rhythm's not there and you've got to get off it a little bit.
Action choreographer is like talking. When you talk, you have a rhythm. When you act, you have a rhythm. When you're moving your body, you have a rhythm. So as an actor, as a choreographer, the objective is trying to blend everything in - into - ultimately back into that character.
I see only one requirement you have to have to be a director or any kind of artist: rhythm. Rhythm, for me, is everything. Without rhythm, there's no music. Without rhythm, there's no cinema. Without rhythm, there's no architecture.
The rhythm is below me, the rhythm of the heat. The rhythm is around me, the rhythm has control. The rhythm is inside me, the rhythm has my soul.
Sometimes it takes just living your life a certain way to be able to open yourself to the rhythm of the cosmos.
Pace, rhythm and timing. Pace, rhythm and timing is what it's about. The content's got to be great, but then it's got to be delivered. It's a tricky thing to do, and it takes a lot of work.
Obviously you have to have rhythm. If you have rhythm, then you can play anything you need. If you have rhythm and you love music, then play and play and play until you get to where you want to get. If you can pay the rent, great. If you can't, then you'd better be having fun.
Mankind have been slow to believe that order reigns in the universe-that the world is a cosmos and a chaos.
I did this campaign that was called "Back to the Basics" where I went back to the street, went back to my block, and really felt the people. We've got to go back to that sometimes. We distance ourselves from that and we see it from afar. Some people can't relate back to that; once you're out of it, they don't want to relate back to that. It's always good to get back to the basics, though. You've got to touch the roots, you've got to touch those people. Regardless of what's going on, people always respect that.
As a director, the biggest job is to discern the imperfections in emotional tone and then view it in the global picture of what you're trying to do, if that makes sense. It's a rhythm, like music is a rhythm or composition and art is a rhythm. Dialogue is a rhythm as well.
It's a tough path to citizenship. You've got to pay back taxes. You've got to learn English. You've got to have a clear record. You've got to get to the back of the line behind other people who have come here legally or even waiting legally.
When you're doing those operation scenes, you not only have to be on top of the dialogue and the rhythm of the dialogue and what's happening dramatically, but you've got to technically get the rhythm right, so that everything is fitting with the dialogue at the right time. And you're performing the operation to the audience that's watching it. Thackery has to present it, as well. In some ways, that's the most challenging.
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