A Quote by Mercedes Lackey

Once the blinders are off, it's rather hard to go back to seeing things the way you used to. — © Mercedes Lackey
Once the blinders are off, it's rather hard to go back to seeing things the way you used to.
When I started looking for pointed shoes, I used to go to Fairfax on Orchard Street in New York City, one of those little pushcart guys. I'd say, 'You got any pointy shoes?' They would go way, way in the back and come back with a dusty box, blow the dust off the top, and say, 'What do you want with these things? Give me twenty bucks. Go on, get outta here!' And that was the beginning.
Go all the way with it. Do not back off. For once, go all the goddamn way with what matters.
It's important for me to go back into the ghetto, where I'm from. I still get my oxygen from there. I don't live in the ghetto but every time I go back, I'm seeing the same things that I lived. That's one of the things I mean when I say, "My feet back onto the ground."
Systems thinking is a discipline for seeing wholes. It is a framework for seeing interrelationships rather than things, for seeing ‘patterns of change’ rather than static ‘snapshots.’
When you're working so much, it's so hard. When you do have time off, or when I had time off, rather than going out and seeing loads of people and being really sociable, I was always quite a homebody.
I mean at the world as a checklist. Once you got to a place, you check them off and if you love the spot, you might check it off twice. You'll always find your way to go back to those places.
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.
When you write a novel or paint a picture, you have the opportunity to approach it and back off, tear up pages, write, rewrite, paint over, and come back to it. In film, once you start shooting, you can't restart the clock, and you keep moving forward, and you don't look back, and you don't go back. And that is, of course, antithetical to the creative process. It's really hard to generate a comfortable creative flow under that kind of pressure.
Once I finished, I got that procrastination monkey off my back! And I started seeing doors opening.
It's hard for people who come from traditional homes to take women seriously. I do it myself. We're just not used to seeing women professionals. Women have to go out of their way to prove themselves.
I'm a hard-luck kind of guy. Usually, things that I hope for don't go my way, so I'm very used to that. In fact, I expect it.
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.
That feeling of finishedness does not come all at once, and it is not easily won, but I think once you get there it is hard to go back.
In general, in all my films, I choose to create a certain mistrust, rather than claiming that what I'm showing onscreen is an accurate reproduction of reality. I want people to question what they are seeing onscreen. In the same way as I used the narrator, I also used black and white, because it creates a distance toward what's being seen. I see the film as an artifact rather than a reliable reconstruction of a reality that we cannot know.
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.
Becoming a grandmother brought me back to the things I forgot to love. Nature. Playing. Seeing animals. A new way of looking. A rejuvenation. A cycle of life - things come back to you. The details.
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