A Quote by Jane Campion
I think that the romantic impulse is in all of us and that sometimes we live it for a short time, but it's not part of a sensible way of living. It's a heroic path and it generally ends dangerously.
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I think that the romantic impulse is in all of us and that sometimes we live it for a short time, but it's not part of a sensible way of living. It's a heroic path and it generally ends dangerously. I treasure it in the sense that I believe it's a path of great courage. It can also be the path of the foolhardy and the compulsive.
A living creature develops a destructive impulse when it wants to destroy a source of danger... The original motive is not pleasure in destruction... I destroy in a dangerous situation because I want to live and do not want to have any anxiety. In short, the impulse to destroy serves a primary biological will to live.
Human life cannot be formless. We live by patterns. We move in comradeships. Conformity is evil when it distorts, flattens, and erases fruitful ways, strong ideas, natural identities; it is evil when it is a steamroller. But a man cannot escape being part of a milieu - and a recognizable part - unless he flees naked to a cave, never to return. The sensible thing is to use hard thinking to find the right way to live and then to live that way. What matters is living with dignity, with decency, and without fear.
I think, generally, romantic stories end with people together. But I'd like a story that ends, like, hopefully but not necessarily neatly.
It is all very well for so-called sensible people to recommend flat heels and short skirts, but most of us prefer not to be sensible.
A lot of people who want to see the short story have a renaissance of readership - they tend to think of short stories, and sometimes poems too, as being well-suited to the way we now live, with all of these broken-up bits of time. I hope they're right, but my sense is that our fiction reading has become, if anything, more cherished as a kind of escape from fragmentation.
Show us not the aim without the way. For ends and means on earth are so entangled That changing one, you change the other too; Each different path brings other ends in view
I suspect it was...the old story of the implacable necessity of a man having honour within his own natural spirit. A man cannot live and temper his mettle without such honour. There is deep in him a sense of the heroic quest; and our modern way of life, with its emphasis on security, its distrust of the unknown and its elevation of abstract collective values has repressed the heroic impulse to a degree that may produce the most dangerous consequences.
We tend to have mixed feelings about the holy. There is a sense in which we are at the same time attracted to it and repulsed by it. Something draws us toward it, while at the same time we want to run away from it. We can’t seem to decide which way we want it. Part of us yearns for the holy, while part of us despises it. We can’t live with it, and we can’t live without it.
The reason progress is slow is that we always expect other men to be the heroes and to live the heroic lives. But we all have hero stuff in us. In our sphere of life we can always live more heroically and triumphantly and grow in heroic stature.
I'm an amalgamation of what I've needed to be. Part scholar, part rebel, part nobleman, part Mistborn, and part soldier. Sometimes I don't even know myself. I had a devil of a time getting all those pieces to work together. And, just when I'm starting to get it figured out, the world up and ends on me.
All I've learned is that you need the studio system sometimes, if your budget is a certain size, and other films you can do independently. When I think of a studio, I generally think of distribution. Since I'm a director, I have a similar creative experience on every film I do, because I can control that. But then it's a different film, I think, as it reaches the public, depending on the way it's marketed. I don't know. I haven't learned much of anything. Sometimes you need them, sometimes you don't. Sometimes they want you, most of the time they don't.
I don't see much difference between living and working. I think living is a part of my work. People often say, 'How can you work so much?' I don't think about it as work. I think of it as a way to live.
I don't think generally politician come from democratic country. I think not that thinking. But sometimes little bit short-sighted. They are mainly looking for their next vote.
We can be aggressive at the right time with the right stakes when it comes to price. But I think for us, it starts and ends with people. And generally speaking, venture investors will say that. Right? That people are very important. It is all about the people. But at Anthemis, it is beyond "all about the people." Because it's almost exclusively about the people. We've been operating this way for a while.
Real life is generally much duller and inevitably sadder, most of the time. In film, you control everything that's going on, so you can indulge the most fantastic, romantic, escapist feelings and fantasies. You can do anything you want. That's why it's very seductive and pleasurable to earn your living making movies because you're not living in the real world.
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