A Quote by Jillian Medoff
To be honest, I want readers to be wrung out. As a novelist, I don't have a political agenda or specific philosophy; I'm trying to create a gut-wrenching, intimate, memorable experience.
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You want to be the best, and you hear a lot of good things about yourself, and then you find out that you're going to debut as a caddy - it's a little gut-wrenching, and it hurt.
Trump's not showing up and trying to politely insert himself in political system and the way politicians do things. He's not trying to ingratiate himself. He doesn't care. He's elected to do specific things. His campaign, his agenda, his rallies, a very long list of specific things, and he reminded everybody, if you're thinking he's not gonna build a wall, if you're thinking that was just chatter, I'd change my mind if I were you.
I don't think I'm complicated at all. I'm not political, and I'm not trying to be diplomatic. I don't want to hurt anybody's feelings, and I don't say bad things about people. There is no agenda. There's no trying to fool somebody.
I don't think I'm complicated at all. I'm not political, and I'm not trying to be diplomatic. I don't want to hurt anybody's feelings, and I don't say bad things about people. There is no
agenda. There's no trying to fool somebody.
Once in a while I experience an emotion onstage that is so gut-wrenching, so heart-stopping, that I could weep with gratitude and joy. The feeling catches and magnifies so rapidly that it threatens to engulf me.
The adjective "political" in "political philosophy" designates not so much the subject matter as a manner of treatment; from this point of view, I say, "political philosophy" means primarily not the philosophic study of politics, but the political, or popular, treatment of philosophy, or the political introduction to philosophy the attempt to lead qualified citizens, or rather their qualified sons, from the political life to the philosophic life.
Watching my own past heartache and experience day after day - it was gut-wrenching, cathartic, beautiful, and painful. That and shooting the film in less than a month.
To want and not to have, sent all up her body a hardness, a hollowness, a strain. And then to want and not to have- to want and want- how that wrung the heart, and wrung it again and again!
I intend Deaths in Venice to contribute both to literary criticism and to philosophy. But it's not "strict philosophy" in the sense of arguing for specific theses. As I remark, there's a style of philosophy - present in writers from Plato to Rawls - that invites readers to consider a certain class of phenomena in a new way. In the book, I associate this, in particular, with my good friend, the eminent philosopher of science, Nancy Cartwright, who practices it extremely skilfully.
Songs like 'Learn To Love Again' and 'Rochester' and some of the more gut-wrenching ones deal with the pain of the younger times of your life... trying to make sense of some the stuff we probably all went through.
If you want to create a memorable company, you have to fill your company with memorable people.
Only a very specific kind of writer keeps their reader in mind while working. Such writers don't want to irk their readers; they don't want to challenge their readers; they want to produce exactly what their reader expects them to produce. I'm not like that.
It requires something more than personal experience to gain a philosophy or point of view from any specific event. It is the quality of our response to the event and our capacity to enter into the lives of others that help us to make their lives and experiences our own. In my own case my convictions have derived and developed from events in the lives of others as well as from my own experience. What I have seen meted out to others by authority and repression, economic and political, transcends anything I myself may have endured.
You can't teach anyone. You can't tell anyone. That's the thing you have to sit down and experience in order for it to mean anything. You can't intellectualize it. It's like why movies are cool. It's a combination of pictures and design and acting and music can create an experience that is outside of the experience that you can actually have in reality, which gets to my motion picture philosophy. People are like, 'aren't you trying to make the movies as real as you can?'
And what is shamanism but philosophy with a hands-on attitude. Philosophy not made around the camp fire, but philosophy based on the acquisition of extreme experience. That's how you figure out what the world is, not by bicycling around in the burbs, but by forcing extreme experience.
Winning, to me, is relief; losing is like dying. It's gut-wrenching.
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