A Quote by Margot Kidder
I was saying to Paul Schrader that he missed the idealism and the passion of that era in Hollywood, but also in American life, that '60s sense of optimism and hope.
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There is something in the American project, something in simple American oratory, something in the hope and idealism of this frustrating and contradictory nation that still makes my spirits soar and my heart leap with optimism and belief. If only they understood how to make a cup of tea.
It's best to not confuse optimism with hope. Optimism is a psychological attitude toward life. Hope goes further. It is an anchor that one hurls toward the future, it's what lets you pull on the line and reach what you're aiming for and head in the right direction. Hope is also theological: God is there, too.
The president has to project to the American people a sense of demanding idealism. Idealism which is not based in self-indulgence, but on self-denial and sacrifice, and on this such an America is going to be credible to the world.
The '60s were a time of great optimism and hope. There was a buzz - everybody could be successful.
A lot of my idealism was frustrated by the end of the '60s because of the way things went with the assassinations and the sense that the political establishment was so fixed in its ways you couldn't change anything.
Hope differs from optimism. Hope does not arise from being told to "think positively," or from hearing an overly rosy forecast. Hope, unlike optimism, is rooted in unalloyed reality.
The risk is that you've got a vast majority of the electorate saying that they believe the country is going seriously in the wrong direction. But the message here will be hope and optimism and also underscoring the history nature of this, with a woman taking the - a major party nomination for the first time.
I was reared on American TV and films. There was a huge sense of occasion about going to the cinema in Moy in the late 1950s and early '60s, and I absolutely loved those Hollywood sword-and-sandal movies like Ben-Hur and the dime-a-dozen cowboy-and-Indian films, as we then referred to them.
I love doing movies, but right now, television is the way Hollywood was in the late '60s and early '70s. The dream era I would have loved to have been part of in Hollywood then is happening right now, but it's happening on television, with these big complicated story arcs and real character-driven shows and sheer ambiguity left and right.
But black folks have never really been optimists. We've been prisoners of hope, and hope is qualitatively different from optimism in the way that there's a difference between The Blues and Lawrence Welk. The Blues and Jazz have to do with hope while the other is sugarcoated music which has to do with sentimental optimism.
Vietnam was an exercise in mistaken idealism Iraq in cynical money-making. And there's no optimism or idealism now -- Americans are tired of knowledge. Our leaders, the C-students from Yale, know this. We're proud of being ignorant that leaves virtue at our core. We aren't frazzled by knowledge like foreigners, so we can be trusted.
Chris[topher] Reeve wisely parsed the difference between optimism and hope. Unlike optimism, he said, 'Hope is the product of knowledge and the projection of where the knowledge can take us.
Moreover, it is clear that the era of the information bomb, the era of aerial warfare, the era of the RMA and global surveillance is also the era of the integral accident.
I choose optimism. I hope to be a catalyst not only by providing financial resources but also by fostering a sense of possibility: encouraging top experts to collaborate across disciplines, challenge conventional thinking, and figure out ways to overcome some of the world's hardest problems.
I seem to be stuck in the '60s, and my favorite music, cars, and women's fashion come from that era. And the sense of social rebellion. It was a good time for a lot of things.
The '60s redefined narcissism as idealism.
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