A Quote by Max Lucado
When you teach on a familiar text, you're capitalizing on common knowledge. When you teach on an unfamiliar text, you're having to build a bridge of understanding, and we need to do that as well.
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With Orff it is text, text, text - the music always subordinate. Not so with me. In 'Magnificat,' the text is important, but in some places I'm writing just music and not caring about text. Sometimes I'm using extremely complicated polyphony where the text is completely buried. So no, I am not another Orff, and I'm not primitive.
I don't want to succumb to the idea that for the generation, or generations, raised on television, the text is irrelevant or so intimidating that they won't deal with it. If you teach, you see this is not true. It may be that newer generations do not worship the text as some of their elders do.
I really don't teach the way Professor [Frank Moore] Cross does. I don't teach the text the same way he does. I teach Biblical themes, Biblical events.
Good web text has a lot in common with good print text. It's plain, concise, concrete and 'transparent': even on a personal site the text shouldn't draw attention to itself, only to its subject.
... though mathematics may teach a man how to build a bridge, it is what the Scotch Universities call the humanities, that teach him to be civil and sweet-tempered.
Whether you're Godard or Almodovar or Scorsese, it's text, text, text. Everything begins with the text, and this is a source of great anguish to me. So please let cinema get on with doing what it does best, which is expressing ideas in visual terms.
To understand a Bible text it takes an act of the Holy Spirit equal to the act that inspired the text in the first place. A revelation of the Holy Spirit in one glorious flash of inward illumination would teach you more of Jesus than five years in a theological seminary.
You can teach all the other stuff, you know. You can teach shooting the ball, you can teach having a good touch... passing and whatnot, but when you get out there on the field, it's just a mindset you need to go into the game with.
On campuses, and when I speak to the younger intelligentsia, I am getting a hunger for the text - the authentic text for Jewish knowledge.
With vocal and choral music, first and foremost, it's the text. Not only do I need to serve the text, but the text - when I'm doing it right - acts as the perfect 'blueprint', and all the architecture is there. The poet has done the heavy lifting, so my job is to find the soul of the poem and then somehow translate that into music.
Generally, the imagery and the text go hand in hand. It's much easier when the text comes first, but sometimes I need visual stimulation in order to find the words. I get an idea of what I want when I begin to shoot, and the text is usually the last thing to be resolved. I tend to leave the text open, and I refine the words up to the last minute. As for the image, I can resolve that and get that done fairly quickly.
Though builders may build, in the main they follow the plans of architects. Teachers teach, but they must have a text. Politicians govern, but only upon the flow of commentary that raises them up or casts them down.
The simple model of a bridge is great, and you could not build a bridge without understanding it well. But if you're actually building the bridge, you need to know the site. A lot of economics is like that: When prices go up, demand is gonna go down. You can't forget that and run your economy. But it's not the only thing you need to know.
The discourse on the Text should itself be nothing other than text, research, textual activity, since the Text is that social space which leaves no language safe, outside, nor any subject of the enunciation in position as judge, master, analyst, confessor, decoder. The theory of the Text can coincide only with a practice of writing.
The person sending ironic text messages has no idea that their voice does not sound so great in text. There's no dry sense of humor in a text. It comes off as a little bit shitty.
The inspiration is all in the script, in the text. So whatever it is, either it is a film or a book to be illustrated, anything. Everything you need to know is in the text. So the thing is trying to find right tone and voice, the right style, the right way of expressing the emotions in a story or in the location of the story, but it is all in the text.
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