A Quote by Kelly Gallagher

Want to extinguish an adolescent's curiosity? Cover as much material as possible. — © Kelly Gallagher
Want to extinguish an adolescent's curiosity? Cover as much material as possible.
We are all born without knowledge, but curious. With curiosity we should be able to learn as much as possible. With curiosity, it has to take a lot of work to remain ignorant.
If the response to 'Suite Francaise' is any indication, there's a great deal of curiosity about Nemirovsky, and the best way to deal with it is to produce another book. So much of her work has been unavailable, and we want to bring as much of it back into print as possible.
What do we tell our children? Haste makes waste. Look before you leap. Stop and think. Don't judge a book by its cover. We believe that we are always better off gathering as much information as possible and spending as much time as possible in deliberation.
I'm afraid that, in this chapter we must talk about sex in a very explicit manner, because we want to expand the Frontiers of Human Understanding and also we want to sell as many books as possible to adolescent boys.
Any statements from the parents may seem like criticism or judgment by the child or adolescent. It's very important that the child or adolescent does most of the talking and the parent asks questions curiously to understand the perspective of the child or adolescent.
All three parts of filmmaking [writing, shooting, editing] contribute to rhytm. You want the script to be a tight as possible, you want the acting to be as efficient as possible on the set, and you have enough coverage to manipulate the rhythm in the editing room, and then in the editing room you want to find the quickest possible version, even if it's a leisurely paced film. I definitely in filmmaking more and more find writing and directing a means to harvest material for editing. It's all about editing.
To die; to decide to die; that's much easier for an adolescent than for an adult. What? Doesn't death strip an adolescent of a far larger portion of future? Certainly it does, but for a young person, the future is a remote, abstract, unreal thing he doesn't really believe in.
The thing that's worked for me is having as much of a connection to the material as possible. And sometimes the material requires a more straightforward approach, and sometimes it requires a little more silliness, you know?
All you're trying to do in an improvisation is get as much material as possible for the editing room.
Imagine a music business where all the music press talked about, all day long, was cover bands of old rock and pop groups. Beatles cover bands, Rolling Stones cover bands, The Who cover bands, Led Zeppelin cover bands. Cover bands, cover bands, everywhere you go.
Be neat, Philothea; let nothing be negligent about you. It is a kind of contempt of those with whom we converse, to frequent their company in uncomely apparel; but, at the same time, avoid all affectation, vanity, curiosity, or levity in your dress. Keep yourself always, as much as possible, on the side of plainness and modesty, which, without doubt, is the greatest ornament of beauty, and the best excuse for the want of it.
Above all, it behooves us to repress, and if possible to extinguish once and for all, our inveterate tendency to judge others by the extent to which they contrive to be like ourselves.
What is my intention being a filmmaker? To make as much money as possible, or get as much attention as possible? It's not really either of those things. Now I can tell the stories that I want to tell.
Whatever project I sign up for, I try to familiarize myself with the material as much as possible before I start.
That's my answer to the question what is your strongest emotion, if you ever want to ask me: Curiosity, old bean. Curiosity every time.
Never slow down, never look back, live each day with adolescent verve and spunk and curiosity and playfulness. If you think you’re still a young pup, then maybe you are, no matter what the calendar says.
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