A Quote by M. Night Shyamalan

There are scenes that were right on the edge, but I always try to err on non-indulgence. It's something that I'm very careful about, that I'm just leaning too hard into something.
And when you try too hard, it doesn't work. Try grabbing something quickly and precisely with a tensed-up arm; then relax and try it again. Try doing something with a tense mind. The surest way to become Tense, Awkward, and Confused is to develop a mind that tries too hard-one that thinks too much.
The beauty of shooting on something that's not in front of an audience is that you can just cut out the times you're laughing. You can cut to the other person and try to use that moment, right before you break. There's an energy to those performances. There's a reason people were laughing. There was something very special. That little extra something was in that line delivery or in that improv, so you try to use that stuff.
History has got a lot to do with unique circumstances under certain particular cases and grand theories will always find counter cases. I don't think that people whose expertise lies in one thing should try to make grand theories about something (a) where it's very hard to get the evidence to prove that you're right and (b) where it's much too easy to make up stories that seem right.
Criticism is always hard to take - we musicians are sensitive. It's always hard when someone says something negative - but you try to learn to just let it roll off and not worry about it.
The only mistake guys can make is to try too hard with their appearance. There's something very unmanly about it.
I just always loved mythology, ever since I was a kid. Greek mythology was something I remember learning about in fourth grade, and Egypt, too, and something about both those things just clicked with me. I just thought they both were so beautiful and interesting to learn about.
I always like to make people happy, make them have a good time. It's pretty obvious if the room is dead - if no one is cheering or singing or whatever, there's obviously something wrong. I always try to look for euphoric feelings, things people are excited that they're hearing, and then I build from there. It's hard to explain, actually. When I'm in the mood, I just feel it. Now they need something with vocals, now they need something hard, something soft.
Let's try and create scenes that are about something... About something deeper than this ashtray.
My father was very political. But he told me, "Be very careful when you get into politics, because there's no black and white. There's an in-between in everything. So look at that side, don't take one point, because then you are negating half of the other people. Try to find the logic on a problem, something that you believe, and take the position that you believe, but be very careful about it." So I was very well trained in that aspect.
I don't think bands should feel compelled to speak out unless they actually have something to say. I think that's a big mistake, where you're turning into a coyote running off the edge of a cliff. Too often, people just feel like something is happening and they want to be part of this thing, and it's just, there's sort of a "me too!" and that's about it.
I think it's something that really speaks in your head - a very strong melody. But at the same time, if the song doesn't have some kind of edge to it, if there isn't something a little off about it or something very intense or loud or abrasive in some way, it just comes off as a stupid pop song.
This story is about the Baudelaires. And they are the sort of people who know that there’s always something. Something to invent, something to read, something to bite, and something to do, to make a sanctuary, no matter how small. And for this reason, I am happy to say, the Baudelaires were very fortunate indeed.
Wherever you are in the world, there's always something about the Australian light. There's something about the sharpness of it, something about the clarity of it, something about the colours of Australia. And hopefully, something optimistic about Australian painting too.
I've always been quite careful about what I wanted to do. I've just never wanted to revisit old ground or do something that's easy. I want to do something that I would look at and go, "I don't know what to do!" The most exciting thing is when you're a bit scared, so I'm looking to find something that's really terrifying.
I try to write about small insignificant things. I try to find out if it’s possible to say anything about them. And I almost always do if I sit down and write about something. There is something in that thing that I can write about. It’s very much like a rehearsal. An exercise, in a way.
When politicians offer you something for nothing, or something that sounds too good to be true, it's always worth taking a careful second look.
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