A Quote by Jim Morrison
I like to let each thing happen - direct it a little consciously, maybe - but just kind of follow the vibrations I get in each particular circumstance. We don't plan theatrics. We hardly ever know which set we'll play.
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Each celestial body, in fact each and every atom, produces a particular sound on account of its movement, its rhythm or vibration. All these sounds and vibrations form a universal harmony in which each element, while having it’s own function and character, contributes to the whole.
even those who call themselves 'intimate' know very little about each other - hardly ever know just how a sorrow is felt, and hurt each other by their very attempts at sympathy or consolation. We can bear no hand on our bruises.
You know, it's people's lives, so as you get a little older, your own life narrative, I guess, invades a little more. It's not like we're traveling in separate buses to each show. It's a labor of love, so we just do it because we like it. Maybe someone's gonna move, or not want to go on a tour for some reason - that could happen, I guess.
If you've ever been in the West Wing, it's like a little rabbit warren. Everybody's crammed in there on top of each other, and you're eating breakfast, lunch, and dinner at the mess with people. And so you really get to know each other very well. So, I think they just weren't worried.
Music is sound, vibrations, whereas paintings are vibrations of whatever you pick up. It's not actually an energy vibration you get from a groovy painting, but music and sound seem to travel along vibrations, you know the whole thing with mantras is to repeat and repeat those sounds... it's vibrations in everything like prayers and hymns.
Some writers can produce marvelous plots without planning it out, but I can't. In particular I need to know the structure of a novel: what's going to happen in each chapter and each scene.
And by banning [smartphones] from the set, the whole crew tends to work tighter with each other. And then it just becomes a thing where people kind of fall in love with the idea, 'This is the film-industry that I signed up for! This is really wonderful.' But then they go back to another set and everybody's on their cellphone, everyone's in their own little box, and they get depressed about it.
I think the more you have a generalist perspective, I think sometimes the more you can kind of see through the forest and the trees. And when it gets a little bit cloudy, you know, have some sense of, "Well, maybe this might happen or maybe that might happen." So I really am a big believer in liberal arts education. I think it's better - particularly in these kind of uncertain times - to know a little bit about a lot of things as opposed to being expert in one thing.
As an actor, you can't play a flashback; you can't play someone's memory. You just have to play each circumstance as if it was real and understand that person's point of view.
At every moment, each instrument knew what to play. Its little bit. But none could see the whole thing like this, all at once, only its own part. Just like life. Each person was like a line of music, but nobody knew what the symphony sounded like. Only the conductor had the whole score.
I wonder if it's ever really possible to know the truth about someone else, or if the best we can do is just stumble into each other, heads down, hoping to avoid collision. I...wonder how many people are clutching secrets like little fists, little rocks sitting in the pits of their stomachs. All of them, maybe.
What's required of me in the field is to feel,' Stirton says with emphasis. 'And trying to take that feeling and put it in a form that communicates a particular set of emotions or circumstances - whether that involves depicting masculine pride, or a particular kind of suffering, or love, or closeness - my primary job is to feel and to try to put that feeling into some kind of visual form. My goal is to get to the heart of each story, you know? I’m trying to evolve in my work.
Once a big loss has happened it is part of the picture forever. Not something you "get over." While each loss has felt specific, one thing I miss with each loss is entirely selfish, I miss the way a particular person saw me, understood me. But part of the challenge of being alive is to remain curious in any circumstance and this has helped me with grief. I want to feel all the contours and contradictions of living.
Let's set the existence-of-God issue aside for a later volume, and just stipulate that in some way, self-replicating organisms came into existence on this planet and immediately began trying to get rid of each other, either by spamming their environments with rough copies of themselves, or by more direct means which hardly need to be belabored. Most of them failed, and their genetic legacy was erased from the universe forever, but a few found some way to survive and to propagate.
The truth is I've just never had any kind of plan at all for my career, which is probably not a very flattering thing to admit. I don't know that I'd ever planned to be in this situation. I'm still just an idiot, really really stupid. It's not like I'm now a genius because this has happened. I just got hugely lucky.
Steven Soderbergh really likes Irréversible, that's about all I can tell you. About the making, well, it was a very particular situation, because those people all know each other, and they're all big stars. I felt like the little French guy, really. And I was very flattered to be called on that, of course, but I felt like if I didn't find something to be a little original, different, particular in the movie, I would just disappear.
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