A Quote by Lewis Black
I do have certain feelings. My feeling is that whoever is in charge, I want him out.
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Technology allows us to weed out a lot of the extraneous circumstances that can happen in certain environments. If you have an opportunity to say, "I'm going to be in charge of my own narrative. I'm going to be the one who sees that this is OK for me," like anything else, it just gives you a position of feeling like you can be in charge of those things.
Music expresses feeling, that is to say, gives shape and habitation to feeling, not in space but in time. To the extent that music has a history that is more than a history of its formal evolution, our feelings must have a history too. Perhaps certain qualities of feeling that found expression in music can be recorded by being notated on paper, have become so remote that we can no longer inhabit them as feelings, can get a grasp of them only after long training in the history and philosophy of music, the philosophical history of music, the history of music as a history of the feeling soul.
I don't want to. Believe me. But I can't help it. Rose said in time, I'll learn the control to keep his feelings out, but I can't do it now. And he has so much, Sydney. So much feeling. He feels everything so strongly— love, grief, anger. His emotions are up and down, all over the place. What happened between him and Rose . . . it tears him apart.
I have mixed feelings about 'Car 54, Where Are You?' Because we shot it as a musical and whoever the studio head was at Orion, or whoever the powers that be were, cut all but, like, two musical numbers out of it. That is the same as cutting the musical numbers out of 'The Wizard Of Oz'; it wouldn't be that interesting.
Other times you can get showy for three minutes, and that's OK with certain films. But that isn't right with an Ang Lee movie, you have to fit right in. You have to understand Ang, respect him and be part of the team and not be in charge of it - he is in charge of it.
The secretariat will play a pivotal role in decision-making above a certain level, where basic policies are involved, but below that, we will have to leave the implementation to whoever is in charge.
Many people don't know about the power of good feelings, and so their feelings are reactions or responses to what happens to them. They have put their feelings on automatic pilot, instead of deliberately taking charge of them.
[The Women's Room] was the first thing I read that explained a lot of the feelings I was having and a lot of the rage and the feeling uncomfortable in my body and knowing that I was feeling a certain way in the world, but I didn't have the language for it.
Feelings follow actions. If I'm feeling low, I deliberately act cheery, and I find myself actually feeling happier. If I'm feeling angry at someone, I do something thoughtful for her and my feelings toward her soften. This strategy is uncannily effective.
Feeling good and feeling bad are not necessarily opposites. Both at least involve feelings. Any feeling is a reminder of life. The worst 'feeling' evidently is non-feeling.
What makes you so certain?" "But I am not certain," I told him. "Nothing is certain. You want certainty?" "Yes!" "Then you want death.
Whoever desires Paradise, proceeds towards goodness; whoever fears Hell, refrains from the impulses of passions; whoever believes firmly in death, detests wordly life; and whoever recognises the worldly life, the trials and tribulations (of life) become slight for him.
Every work of art causes the receiver to enter into a certain kind of relationship both with him who produced the art, and with all those who, simultaneously, previously, or subsequently, receive the same artistic impression. Art is a human activity- that one man consciously by means of certain external signs, hands on to others feelings he has lived through, and that others are touched by these feelings and also experience them.
For so remarkably perverse is the nature of man that he despises whoever courts him, and admires whoever will not bend before him.
I think to be afraid is very important. It's to save your life, too. And over the years, each of us, and all my colleagues, we developed certain antennas. I can't really say why I don't want to go right or left. It's a feeling, and I trust mostly my feelings.
It's the reality: film is a director's medium, and, ultimately, they are the ones that are in charge, and you have to respect that because somebody has to be in charge. But, yeah, you do reach a point where you want to have your voice come out.
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