A Quote by Jim Morrison
A hero is someone who rebels, or seems to rebel, against the facts of existence and seems to conquer them, but obviously that can work at moments.
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A hero is someone who rebels or seems to rebel against the facts of existence and seems to conquer them. Obviously that can only work at moments. It can't be a lasting thing. That's not saying that people shouldn't keep trying to rebel against the facts of existence. Someday, who knows, we might conquer death, disease and war.
Sure, I always chose rebels to identify with - I still do - but to me a rebel isn't so much someone who breaks the law as someone who goes against the odds.
He that rebels against reason is a real rebel, but he that in defence of reason rebels against tyranny has a better title to Defender of the Faith, than George the Third.
A rebel adult often seems like a glorious savior, whereas a rebel child often seems like a little devil.
One of the greatest rebels, who I really admire: Christ. He was a rebel. He ended up being crucified. He was a great rebel. He rebelled against the established power that subjugated.
I feel uncomfortable about the word hero because it seems to me that it is so rhetorically proximate to justifications for more war. Um, and, I don't want to obviously desecrate or disrespect memory of anyone that's fallen, and obviously there are individual circumstances in which there is genuine, tremendous heroism, you know, hail of gunfire, rescuing fellow soldiers and things like that. But it seems to me that we marshal this word in a way that is problematic. But maybe I'm wrong about that.
Everyone seems to be running against a liar, but nobody seems to be one. Odd - I mean, the math doesn't work out.
If something seems possible, that's probably because someone is already doing it. When something seems that it can't possibly work, nobody tries it. Real innovation happens when someone tries anyway, overlooking an obvious flaw, and finds a way to make an idea work.
The truth of faith is a slender, glowing element that runs through even the seemingly ordinary and undramatic moments of existence. Even at low intensity, it is a steady source of illumination. Such religious truth is powerful even when it seems faint, even when it seems obscured by the larger events of history.
An adolescent does not rebel against her parents. She rebels against their power. If parents would rely less on power and more on nonpower methods to influence their children from infancy on, there would be little for children to rebel against when they become adolescents. The use of power to change the behavior of children, then, has this severe limitation: parents inevitably run out of power, and sooner than they think.
There is so much work to working that there are moments, moments, where I stop and look around, and it seems too arduous to go on. It isn't, of course.
It seems as if, for every dragon head that is lopped off, two more terrible appear. Seems so. But in truth, Life is gaining all the while. Brute force, such power as there seems to be in things, cannot stand against ideas which are eternal.
I wanted to talk to someone. But who? It’s moments like this, when you need someone the most, that your world seems smallest.
A few times in my life I've had moments of absolute clarity, when for a few brief seconds the silence drowns out the noise and I can feel rather than think, and things seem so sharp. And the world seems so fresh as though it had all just come into existence. I can never make these moments last. I cling to them, but like everything, they fade. I have lived my life on these moments. They pull me back to the present, and I realize that everything is exactly the way it was meant to be.
Given the facts, our existence seems quite improbable—more miraculous, perhaps, than the seven-day wonder of Genesis.
It seems to me that dominant cinema seems to require an empathy or a sympathy between the film and the audience which is basically to do with the manipulation of the emotions and it seems to me again -- and this is a very subjective position -- that most cinema seems to trivialise the emotions, sentimentalising or romanticising them.
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