A Quote by Garrett Hedlund
When you come across someone colorful and vibrant maybe in the present it isn't so interesting, but, in the past, it sheds a wonderful light onto living life.
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You have to keep being curious. The notion that the present is different than the past, and the future will be different than the present, and the present is past, as we say it. I think I, by nature, am an optimist. Maybe I was driven to escape from my childhood and to be something, create my own world or career the way I wanted it to be. And I keep doing that in very interesting ways.
History in Burckhardt's words is 'the record of what one age finds worthy of note in another.' The past is intelligible to us only in light of the present; and we can fully understand the present only in light of the past. To enable man to understand the society of the past and to increase his mastery over the society of the present is the dual function of history.
Berlin definitely has one of the most vibrant of the startup scenes that I have seen. Not really just across Europe, but across the whole world in terms of cities. It's an interesting dynamic.
I love colorful things. I think the world is so beautiful because of all the different colors. With my feed, I really like it to be a rainbow effect, very colorful and vibrant, and just showing happy moments.
I always feel that comedy, at its best, tackles issues that are controversial, polarizing, volatile, and sheds light onto those issues and the people involved.
I don’t live in either my past or my future. I’m interested only in the present. If you can concentrate always on the present, you’ll be a happy man. Life will be a party for you, a grand festival, because life is the moment we’re living now.
There was an event called the World Transformed, which was set up by Momentum, and people from across the political spectrum have had to tip their hat to it. It's vibrant, with interesting discussions and ideas. That's why it's such an interesting political moment.
My concern today is with the painting of manners of the present. The past is interesting not only by reason of the beauty which could be distilled from it by those artists for whom it was the present, but also precisely because it is the past, for its historical value. It is the same with the present. The pleasure which we derive from the representation of the present is due not only to the beauty with which it can be invested, but also to its essential quality of being present
The only living life is in the past and future - the present is an interlude - strange interlude in which we call on past and future to bear witness that we are living.
Last Christmas someone stole my present. I've spent this year living in the past.
The present is only understandable through the past, with which it forms a living continuity; and the past is always grasped from our own partial viewpoint within the present.
Life gives to all the choice. You can satisfy yourself with mediocrity if you wish. You can be common, ordinary, dull, colorless, or yyou can channel your life so that it will be clean, vibrant, useful, progressive, colorful, and rich.
Everyone's got something that they've held onto from their childhood or from a past relationship, someone who's told you what you are, and it's leaving all that behind and living a happy life and realizing that a lot of that is inside you - really uncovering that. The story - those themes - are heavy themes that everyone can connect to.
When a moment in front of me appears to be particularly special, whether it be by beauty or experience, I capture it. I usually find a reason to justify taking that photo - symmetry, or color, or contrast - and it's my hope that my photography sheds light onto what I see and do on a daily basis.
Sometimes we forget that if we do not encourage new work now, we will lose all touch with the work of the past we claim to love. If art is not living in a continuous present, it is living in a museum, only those working now can complete the circuit between the past, present and future energies we call art.
Originally the structure was . . . a modern narrator who would appear intermittently and talk about his memories of his grandmother, which would then be juxtaposed against scenes from the past. But the stories from the past were always more interesting that the things in the present. I find this almost endemic to modern plays that veer between past and present. . . . So as we've gone on developing GOLDEN CHILD, the scenes from the past have become more dominant, and all that remains of the present are these two little bookends that frame the action.
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