A Quote by Ellen Goodman
When we describe what the other person is really like, I suppose we often picture what we want. We look through the prism of our need.
Related Quotes
I have always looked at the world through the prism of money to some degree. If you could follow the money, it explains a lot of things, in all sorts of aspects of the world. You can look at politics through the prism of money. You can look at art through the prism of money. You can look at sports through the prism of money.
It's very easy for Australians living in big cities to either romanticise or demonise the situation in Aboriginal places - to kind of look at things through the 'noble innocents' prism or through the 'chronically dysfunctional' prism, and I suspect that is so often the case.
More often than not, however, the person who flatly states 'Elves aren't like that!' is hard pressed to describe how they really look.... as if Tolkien has summoned archetypes from so deep in our minds that we can only recall them incompletely.
For me, when I picture the person I want to end up with, I don't think about what their career is, or what they look like. I picture the feeling I get when I'm with them.
When I'm online and I see a picture I want to draw of anybody or anything, a unique angle of them or just something that looks very drawable, I slide it to my desktop and put it in a folder. It just seems like every picture of Trump is a revelation. Any angle. I didn't know a person could look like that. His facial expressions - he really is a cartoon. He's like an instruction manual of how to caricature someone.
What we see in the outer is but a reflection of the inner, because we surround ourselves with a picture of our own beliefs. In other words, we manifest in general what we seriously think and believe. So if we want to find out what our habitual thinking is like, we have but to look around us and ask ourselves what we really see.
I will be so glad to take the picture and pose and look good for the picture. But when you catch me while I'm looking real sideways and the picture's ugly as hell, I don't want you to have the picture like that!
We are all in this together. We want to have, I suppose, a single point of entry so that anyone coming near a disability service can get a very complete picture. Government needs to understand that picture, and we need to be able to offer somebody a one-stop shop.
I just really like writing and making television shows. There are ego rewards in doing battle with other television programs in prime time in the main season. I suppose there are times when I might look at that and think that's the major league. But when you look at it, ultimately would I really want to gamble my livelihood and my ability to connect with my fan base or write a show that I really like writing, or in some cases direct a show that I really like directing, for the sake of winning an ego battle? It's totally not worth it. That stuff is so ephemeral.
We need to know ourselves better so that we can realize what we really want in our life. I think that the first condition for a person to be in a successful relationship is to be happy with the person he or she is, in other words to love themselves.
Like white light refracted through a prism and split into many colors, God's eternal love-nature, expressed through the prism of time, becomes God's multicolored love story. History is His story.
Human sexuality includes more than hormones, organs, and orgasms; it runs through the psychic and spiritual ranges of our lives. We experience our sexuality on the spiritual level as a yearning for another person. We want to reach out and stretch ourselves into the depths of another. We want to bring the other person into the orbit of our deepest selves. We want to probe into the mystery of the other.
Too often cartoonists just look at other cartoonists and, after a lot of inbreeding, everyone has the same funny look. The challenge of drawing is that there is no one right way to visually describe something. It's a good thing to confront your limitations and preconceptions every so often.
The script is a starting point, not a fixed highway. I must look through the camera to see if what I've written on the page is right or not. In the script, you describe imagined scenes, but it's all suspended in mid-air. Often, an actor viewed against a wall or a landscape, or seen through a window, is much more eloquent than the lines you've given him. So then you take out the lines. This happens often to me and I end up saying what I want with a movement or a gesture.
One of the aims of higher education is to broaden perspectives, and what better way than by a home stay in a really different country, like Bangladesh or Senegal? Time abroad also leaves one more aware of the complex prism of suspicion through which the United States is often viewed.
Most filmmakers' entire body of knowledge is of other movies. When they describe things, they describe them in relation to other movies. That's why we have so many cyclical movies that look like other movies. But I'm not cynical. I even go to some of those movies.
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