A Quote by Hugh Shelton
I, first of all, felt a great sense of loss, a sense of condolence for the friends that I had that were killed in that, for the loved ones.
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It was one of those times you feel a sense of loss, even though you didn't have something in the first place. I guess that's what disappointment is- a sense of loss for something you never had.
Can you remember how you felt when you were communicating through your artwork? Not just the sense of completion, but the sense of rightness- the sense that you had brought to life something that could live beyond your sphere of being, that held in it far more potential than you ever realized you were imbuing in the work?
Being a Barrymore didn't help me, other than giving me a great sense of pride and a strange spiritual sense that I felt OK about having the passion to act. It made sense because my whole family had done it and it helped rationalise it for me.
Into The Wild" had a great sense of wild, unpredictable freedom that I loved and "Unforgiven" is just a great western with characters that walked the line between right/wrong with an ambiguity that felt very true to frontier life.
I didn't have any money. I had a sense of terrible loss. But what I also had was a fire in my belly. I wasn't going to go back to waiting tables. I felt I had to be better at fronting a band.
Hate crimes are different from other crimes. They strike at the heart of one's identity - they strike at our sense of self, our sense of belonging. The end result is loss - loss of trust, loss of dignity, and in the worst case, loss of life.
Fine sense and exalted sense are not half so useful as common sense. There are forty men of wit for one man of sense; and he that will carry nothing about him but gold, will be every day at a loss for want of readier change.
When I look back at my paintings, they don't give me a sense of where I was when I first met that guy. They don't give me a sense of what I felt like when I first saw that original source material. They give me a sense of the world that I'm trying to create. And we all just have to deal with that.
I love so much the models from the '60s and the '70s. They were extremely professional, great models who knew how to work the camera so well and loved fashion and had a great sense of style.
The '90s were indeed a great time to be alive. There was a sense of optimism that I never felt before that decade and I haven't felt since.
Once I've properly finished a book, my ideal state of being would be to never think about it again. But with 'Capital,' I felt I'd spent so much time with the characters that they were very, very real, and I definitely had a sense of loss about leaving them behind in a way I've not quite had before.
I felt shame - I see this clearly, now - at the instinctive recognition in myself of an awful enfeebling fatalism, a sense that the great outcomes were but randomly connected to our endeavors, that life was beyond mending, that love was loss, that nothing worth saying was sayable, that dullness was general, that disintegration was irresistible.
The paradox of love is that to have it is to want to preserve it because it's perfect in the moment but that preservation is impossible because the perfection is only ever an instant passed through. Love like travel is a series of moments that we immediately leave behind. Still we try to hold on and embalm against all evidence and common sense proclaiming our promises and plans. The more I loved him the more I felt hope. But hope acknowledges uncertainty and so I also felt my first premonitions of loss.
The great tabloids were always driven by a sense of outrage, a sense of righteous indignation...and had this sensibility of, like, there are people out there that are trying to screw you - and we're going expose them for it.
Elvis was sincere, and he was - he was so loyal. And he was so homespun. He loved his mother, he loved America. You know, he loved his fellow man. He had a great humanitarian philanthropic sense.
I had to detach myself from myself, if that makes any sense, to conjure an authentic first-person voice. In that sense, it was similar to writing a first-person novel. But I was writing about real people, not fictional ones - myself, my family, my friends and boyfriends and ex-husband, and that was extremely tricky.
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