A Quote by Jessamyn West

The conversation of two people remembering, if the memory is enjoyable to both, rocks on like music or lovemaking. There is a rhythm and a predictability to it that each anticipates and relishes.
We try to create a situation where we're the casino. It's like how an actuary would set insurance rates. Predictability, predictability, predictability. What's the path to least risk? What's the greater chance of getting some return on this asset?
All the research shows that the presence of that phone will do two things to the conversation. It will make the conversation go to trivial matters, and it will decrease the amount of empathy that the two people in the conversation feel toward each other. That phone is a signal that either of us can put our attention elsewhere.
As a director, the biggest job is to discern the imperfections in emotional tone and then view it in the global picture of what you're trying to do, if that makes sense. It's a rhythm, like music is a rhythm or composition and art is a rhythm. Dialogue is a rhythm as well.
Music and comedy are so linked. The rhythm of comedy is con­nected to the rhythm of music. They’re both about creating tension and knowing when to let it go. I’m always surprised when somebody funny is not musical.
There's the internal rhythm within a sequence, and then there's the rhythm between the sequences, and that's extremely important in constructing the narrative. For example, you don't put two big dramatic scenes right next to each other. But you can use the rhythm of the transition shots; they can often serve a double purpose.
Forcing people together is an enjoyable conflict to watch, but I think it's even more enjoyable if they love each other.
All life requires a rhythm of rest. . . There is a rhythm in the way day dissolves into night, and night into morning. There is a rhythm as the active growth of spring and summer is quieted by the necessary dormancy of fall and winter. There is a tidal rhythm, a deep, eternal conversation between the land and the great sea.
I see only one requirement you have to have to be a director or any kind of artist: rhythm. Rhythm, for me, is everything. Without rhythm, there's no music. Without rhythm, there's no cinema. Without rhythm, there's no architecture.
The business of music. You know, it's an oxymoron in a sense. It's like the two things. Although we both need each other, they really don't go together.
Searching for companies is like looking for grubs under rocks: if you turn over 10 rocks you'll likely find one grub; if you turn over 20 rocks you'll find two.
Enjoy music. Not the kind that rocks and rolls, but the music of the masters, the music that has lived through the centuries, the music that has lifted people. If you do not have a taste for it, listen to it thoughtfully. If you do not like it the first time, listen to it again and keep listening.
The idea that rhythm is intrinsically human — not just primitive — that we all have hearts that beat at a steady rate and don't stop...reminds me of life itself. In that sense my music is like certain popular music where the rhythm drives from beginning to end.
Each human personality is like a piece of music, having an individual tone and a rhythm of its own.
When you pray, you are not starting the conversation from scratch, just remembering to plug back into a conversation that's always in progress.
When each partner loves so completely that he has forgotten to ask himself whether or not he is loved in return; when he only knows that he loves and is moving to its music--then, and then only are two people able to dance perfectly in tune to the same rhythm.
...I told him a story of two people. Two people who shouldn't have met, and who didn't like each other much when they did, but who found they were the only two people in the world who could possibly have understood each other.
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