A Quote by George McGovern
This dogged, same track approach (by the NCI) is even more astonishing.
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...It would be possible to make much more progress than has been made if the NCI knew its job better, knew how to make discoveries...The NCI really does not know how to make discoveries....So long as the NCI is not willing to follow up ideas that seem good to people who have had experience making discoveries, the work of the NCI is going to be pedestrian.
All that we don't know is astonishing. Even more astonishing is what passes for knowing.
My approach to 'Eastenders' is the same as my approach to film and the same approach to theatre. Whatever I do, I use the same skills and tools.
Genius is nothing more than common faculties refined to a greater intensity. There are no astonishing ways of doing astonishing things. All astonishing things are done by ordinary materials.
I had learned a little about writing from Soldier's Pay - how to approach language, words: not with seriousness so much as an essayist does, but with a kind of alert respect, as you approach dynamite; even with joy, as you approach women: perhaps with the same secretly unscrupulous intentions.
I think of myself as something of a connoisseur of procrastination, creative and dogged in my approach to not getting things done.
The oral (Laetrile) had been 'toxified' by adding cyano-urea in the NCI...(NCI's) Mayo (Clinic) dismissed well responding patients to discard them from statistical evaluation...This kind of fraud which I expressed...and which was openly published...has...not resulted in any denial.
I'll never approach a part in the same way again. Piaf taught me so much. In terms of my work, I think I'll enjoy it even more than before, because now I know that characters truly exist in their own right. I'll have a way to bring them even more intensely to life.
We were never a band that did 96 takes of the same thing. I had heard of groups that were into that kind of excess around that time. They'd work on the same track for three or four days and then work on it some more, but that's clearly not the way to record an album. If the track isn't happening and it creates some sort of psychological barrier, even after an hour or two, then you should stop and do something else. Go out: go to the pub, or a restaurant or something. Or play another song.
It's just like they approach things on every movie I've worked on, very much as if it was a live-action movie. The character you're playing, even though he's a rooster and is really stupid, you approach it in the same way you would approach Hamlet, which is exactly how I approached it. But they give you the circumstances. "You're on the boat. You didn't expect to be here. You just climbed in a boat to maybe sleep. You don't even know why you climbed in the boat. You're really that dumb.
I approach beauty the same way I approach clothing - I think people should do whatever to themselves to make them feel more comfortable in their skin.
Growing up in the sport, I've been able to separate what happens on the track with what happens away from the track. That track is totally different. I'm not the same person when I put that helmet one.
I went for a more classical approach to filmmaking with lots of dolly, track and cranes, and slightly slower, more choreographed fight moves, so you get more fight moves in one take.
The first track is the end of a string. At the far end, a being is moving; a mystery, dropping a hint about itself every so many feet, telling you more about itself until you can almost see it, even before you come to it. The mystery reveals itself slowly, track by track, giving its genealogy early to coax you in. Further on, it will tell you the intimate details of its life and work, until you know the maker of the track like a lifelong friend.
I approach video games the same way I approach theatre, filmmaking, poetry, or painting. I wish more people would take that point of view. It would help the industry to move on.
I've been in the studio when you go through a track and you run down a track and you know even before the singer starts singing, you know the track is swinging... you know you have a multimillion-seller hit - and what you're working on suddenly has magic.
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