A Quote by Igor Stravinsky

I knew I had to write a Mass of my own, but a real one. — © Igor Stravinsky
I knew I had to write a Mass of my own, but a real one.
And that was it; it was so easy for her. My own memories did not even belong to me. But I knew she was wrong. I had seen that comet. I knew it as well as I knew my own face, my own hands. My own heart.
The dozens of people working on this at Digital Domain, they knew that you couldn't get away with almost photo real, because we had real real in the room. You have real real in the cut every four or five shots, so you have this constant yardstick built into the footage by virtue of there being no real robot there. So it became the standard of photo reality that the VFX team had to match.
I've always known that I've wanted to write, but I always saw myself doing that in the context of something other than film, so it was a really beautiful and kind of perfect moment in my life when I realized that I could combine this idea of wanting to write and tell my own stories with the environment I had grown up in and knew well - that I could make film as opposed to writing being a departure from what I knew.
The Second Wave Society is industrial and based on mass production, mass distribution, mass consumption, mass education, mass media, mass recreation, mass entertainment, and weapons of mass destruction. You combine those things with standardization, centralization, concentration, and synchronization, and you wind up with a style of organization we call bureaucracy.
I knew what I didn't want, and I knew whatever it was going to be it had to be believable and it had to come from me and I had to drive it. The way I write is very honest and when I think of the music that I listened to growing up, I loved it because I believed it.
I knew that I had to find out more about van Gogh. Even though I was far too young, and felt I did not have sufficient technique to write a book about Vincent van Gogh, I knew I had to try. If I didn't I would never write anything else.
I had a lot of great lakes of ignorance that I was up against, I would write what I knew in almost like islands that were rising up out of the oceans. Then I would take time off and read, sometimes for months, then I would write more of what I knew, and saw what I could see, as much as the story as I could see. And then at a certain point I had to write out what I thought was the plot because it was so hard to keep it all together in my head. And then I started to write in a more linear way.
I'd worked for, during one period, for a PR firm, and for a while Rock Hudson was a client of ours, so I knew him well, and I knew when he had AIDS, that he had AIDS, but I would not write about that.
I had always wanted to make music on a big scale but never knew how it was going happen - until I saw a band in Oslo called Bridges. I was stunned. They had everything. The only thing they didn't have was me. I knew I needed to join, not for my own sake but for the band's. I knew I was a necessary ingredient.
I am practical by nature, and I'd heard that being a writer or an artist is a good way to starve! So I was an economics major at Oklahoma State, and then received an M.S. from Cornell in Agricultural Resource and Managerial Economics. I knew if I wanted to write I would do it on my own, but I knew I wouldn't make myself study economics on my own.
I have been waiting for someone to come along and tap into that very real frustration that exists in a very large segment of the working-class Republican base. And no one had done it until Donald Trump. I very clearly saw a void, and I knew somebody would fill it. And the moment I knew he had filled it, I knew he would win the nomination.
I basically had the idea when I was 18 that I wanted to write my own songs. I knew it was going to be a long, tough road, and I was like, if I just begin now, by the time I'm 40, I'll be good at it.
I always had a knack for putting the peanut butter on the bread. My brother Kevin knew how to spread the jelly around real good. When we found out Joe could cut off the crusts, well, that's when we knew we had something special.
In Eden I "saw" that Adam or Eve probably spoke each word FOR THE FIRST TIME and that seemed wild and seemed to me that that might have brought them to some essence of language. Once I "saw" the city, I knew it was real. once I saw that a poem was a house, i knew it was real and could go back to it or else write a flurry of poems around it, both worked.
Over the years I've had strong friendships with many priests. As a matter of fact, a group of Christian leaders from the National Council of Churches came to my house in the 1950s to ask me to write music for a Mass. I didn't think I was ready at that time. So, in a sense, I guess joining the church and writing the Mass was a culmination of a long journey that is still going on.
I write what feels real. I write things that are informed both by my own experience and by actual history.
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