A Quote by Italo Calvino

It is only after you have come to know the surface of things ... that you can venture to seek what is underneath. But the surface of things is inexhaustible. — © Italo Calvino
It is only after you have come to know the surface of things ... that you can venture to seek what is underneath. But the surface of things is inexhaustible.
I think one thing with Sweden is that in some way the Swedish society is a very good society, almost perfect on the surface. That is something that makes the writers forced to see what is underneath the surface, because it's always something underneath the surface, of course.
You can't get at the thing itself, the real nature of the sitter, by stripping away the surface. You can only get beyond the surface by working with the surface. All that you can do is manipulate that surface - gesture, costume, expression - radically and correctly.
I think when tragic things happen it is on surface. It is like the ocean. One the surface a waves and sometimes the wave is very serious and strong. But it comes and goes, comes and goes, and underneath, the ocean always remains calm. Tibetans have a saying: "If bad news comes to you listen here" (points to the right ear) "and let it our here" (points to the left ear).
You get to be analytical about the process and now I can watch the movie and see all the different connection things and see all the things that are underneath the surface.
Now, the world is more than it seems to be. You know this, of course, because you read stories. You understand that there is the surface and then there are all the things that glimmer and shift underneath it. And you know that not everyone believes in those things, that there are people—a great many people—who believe the world cannot be any more than what they can see with their eyes. But we know better.
Sometimes over the years, you know, things come to surface.
Genres are like the surface of the ocean. There are waves and things moving, but you don't instantly see all the reefs and ecosystems that's happening beneath the surface.
There are two sorts of curiosity - the momentary and the permanent. The momentary is concerned with the odd appearance on the surface of things. The permanent is attracted by the amazing and consecutive life that flows on beneath the surface of things.
Every great narrative is at least two narratives, if not more - the thing that is on the surface and then the things underneath which are invisible.
... the blinding Hiroshima flash... literally photographed the shadow cast by beings and things, so that every surface immediately became war's recording surface, its film.
The Now is as it is because it cannot be otherwise. What Buddhists have always known, physicists now confirm: there are no isolated things or events. Underneath the surface appearance, all things are interconnected, are part of the totality of the cosmos that has brought about the form that this moment takes.
I'm tired of my life, my clothes, the things I say. I'm hacking away at the surface, as at some kind of gray ice, trying to break through to what is underneath or I am dead. I can feel the surface trembling—it seems ready to give but it never does. I am uninterested in current events. How can I justify this? How can I explain it? I don't want to have the same vocabulary I've always had. I want something richer, broader, more penetrating and powerful.
As an actor, what's interesting is what's hidden away beneath the surface. You want to be like a duck on a pond - very calm on the surface but paddling away like crazy underneath.
Sometimes people are layered like that. There's something totally different underneath than what's on the surface. But sometimes, there's a third, even deeper level, and that one is the same as the top surface one. Like with pie.
If you just take the time to look, then yeah, you will find some really great music in Holland. Just scratch the surface and look underneath the corporate surface.
The underlying tension of a lot of my art is to try and look through the surface appearance of things. Inevitably, one way of getting beneath the surface is to introduce a hole, a window into what lies below.
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