A Quote by Markus Zusak

I walked home, seeing all my doubt from the other side. Have you ever seen that? Like when you go on holiday. On the way back, everything is the same but it looks a little different than it did on the way. It's because you're seeing it backwards.
Do you ever wonder if what you look at is the same thing everyone else is seeing?' He went even stiller at her side. 'Sometimes I'm sure it isn't the same...but that's not so bad is it? Seeing the world in a different way?' Creative vision creates art' he motioned around the gallery 'that shows the rest of the world a new angle. That's a beautiful thing.
Maybe I'm seeing myself in a different way than the people in the audience see me, 'cause to me, I think I look like a ballerina and I feel like a ballerina. But maybe I'm not seeing what other people are seeing.
I've always felt a little different than everyone - you know, most of the other kids in my class - and I didn't quite see things the way they did or I didn't experience things the same way they did. I often felt a little bit like an outcast.
The chances are you've never seen the other side of me. You've seen the event side of me when I'm on stage. But there is another side of me. If you evoke that side, you won't like it. It's a nasty side. You don't want to see that side. You're not missing anything by not seeing it.
One of the reasons I love making movies is because it's an opportunity to share with the world a different way of being or a different way of living or seeing the world. If it's something you've already seen before, if I have too many reference points for it, then it's not exciting for me to make.
You can't keep going back to Detroit because you're big in Detroit. You can go maybe once a year and sell it out because everybody loves you and looks forward to seeing you again. You can't go back twice in the same year.
There was a danger whenever I was on home ground. It was the danger of seeing my life through other eyes than my own. Seeing it as an ever-increasing roll of words like barbed wire, intricate, bewildering, uncomforting—set against the rich productions, the food, flowers, and knitted garments, of other women’s domesticity. It became harder to say that it was worth the trouble.
There were once two sisters who were not afriad of the dark because the dark was full of the other's voice across the room, because even when the night was thick and starless they walked home together from the river seeing who could last the longest without turning on her flashlight, not afraid because sometimes in the pitch of night they'd lie on their backs in the middle of the path and look up until the stars came back and when they did, they'd reach their arms up to touch them and did.
People have said over the years that the reason I did not give up my seat was because I was tired. I did not think of being physically tired. My feet were not hurting. I was tired in a different way. I was tired of seeing so many men treated as boys and not called by their proper names or titles. I was tired of seeing children and women mistreated and disrespected because of the color of their skin. I was tired of Jim Crow laws, of legally enforced racial segregation.
Synonyms know each other like old colleagues, like a set of friends who've seen the world together. They swap stories, reminisce about their origins and forget that though they are similar, they are entirely different, and though they share a certain set of attributes, one can never be the other. Because a quiet night is not the same as a silent one, a firm man is not the same as a steady one, and a bright light is not the same as a brilliant one because the way they wedge themselves into a sentence changes everything.
I was, not an altar boy, but a reader of the Epistle, and I walked in on a nun and a priest furiously French kissing when I was in seventh grade. I walked in, saw it, and went, "No way," backed out, composed myself, and went back in, and it was still going on. And the experience of seeing that was actually very deep.
I really loved it because it really informed his way of seeing my character and the story. If you look closely he always had this metaphor of an egg, of a little chick pecking her way out of a shell, and in one scene in the kitchen there are all these white plates on a wall and then in the middle there is a yellow plate so even that looks like an egg. And a lot of the furniture was almost sculpted in that way as well. It was really cool to see that.
And that is something I've heard from many people who immigrate is that when they go back to their home countries, in a way, they think they're going to be embraced and completely feel like they've come home. This disconcerting thing is when you go back there and you feel more foreign than you ever have.
A lot of things I did were cringy. I look back at interviews, seeing the way I talked and the way I am, and it is embarrassing. I came back from the Olympics, I was shoved in the spotlight and I couldn't cope that well.
I like taking my leads from what I see rather than trying to impose. I like that way of looking at things and seeing what's on screen and seeing how I can draw music out of it almost.
I just don't believe that there's any way that you're ever gonna get one peace, because everybody has different ways of seeing life.
This site uses cookies to ensure you get the best experience. More info...
Got it!