A Quote by Mickie James
One really never knows what tomorrow holds. That's why you make the most of every moment - good, bad, or indifferent - and own it like only you can.
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And why do we reduce the beauty of relating to relationship? Why are we in such a hurry? - because to relate is insecure, and relationship is a security, relationship has a certainty. Relating is just a meeting of two strangers, maybe just an overnight stay and in the morning we say good-bye. Who knows what is going to happen tomorrow? And we are so afraid that we want to make it certain, we want to make it predictable. We would like tomorrow to be according to our ideas; we don't allow it freedom to have its own say. So we immediately reduce every verb to a noun.
[When anything happens, we interpret it as good or bad, but...] We do not know what is really good or bad fortune. [Only the future can decide. For example, what appears to be bad today may in fact lead us to a greater good tomorrow and by the very act of thinking and planning in that positive way, we can help make that good future come true.]
The circumstances with which every thing in this world is begirt, give every thing in this world its size and shape;--and by tightening it, or relaxing it, this way or that, make the thing to be, what it is--great--little--good--bad--indifferent or not indifferent, just as the case happens.
In the long run, you make your own luck - good, bad, or indifferent.
You have to really make sure that every moment means something, and that every moment, there's a purpose for it. And then you have to blend it all together without it looking like you're really focusing on it. That, to me, was the magic trick that was most difficult for the film [Buried].
Make the most of every moment. Get excited about every little thing. Why not? Why not have your wonderful moment of excited anticipation? Why not be happy NOW? This is my greatest challenge, but something I'm pouring my heart into: learning how to enjoy what I have, right here, right now. Every moment is precious and although sometimes I struggle to see it, I see it more and more every day.
The only moment football really stops is with a penalty kick - and that is a moment that is really dramatic. A penalty kick becomes a Western duel. It's two guys facing each other. Destiny and potential death, whether metaphorical or literal. That's why in the penalty kick at the end of the film, I shot it like an homage to the Sergio Leone Westerns I saw when I was a kid, especially The Good, The Bad And The Ugly.
Nothing is ever really lost. The memories of good friends and good times are always there, never more than a thought away. In a sense, they never really stopped happening. Every moment you ever treasured, every friend you ever valued is still there, separated from us only by time; the past is still happening and always will be. It's only we who have moved on.
I feel it's most important to keep it real and enjoy each moment, you know, take advantage of every opportunity life provides, because who knows what tomorrow may bring
When you think of a chef you think of somebody that could cook - you don't think of chef that says, 'Yo, I make only steaks'. No. A chef knows how to bake, he knows how to fry, he knows how to sautee, he knows how to do everything that's pertaining to food, and that's how I felt about my lyrical position. It's like I would say, 'Today I'm gonna make a hot salmon. Tomorrow I make you spaghetti. The next day I make you baked fish'. This is how my lyrical content in my head was already bein' reciprocated to the world, bein' given to y'all like that.
I don't like having people pick me out on the street. I don't like the status - good, bad or indifferent. I don't like it. I want my private life back, and I'm never going to have it.
Film is such a director's medium; you're really in their hands in terms of the real storytelling. As an actor, you can give a performance moment to moment and some of your takes will be used and some of them won't. I think there are great films you can make with bad performances, and vice versa. There are all combinations of those things. It's really down to the director what happens, I think, so that's why it's really good to work with very talented, bold directors.
There's plenty of days when I'm like 'Oh God, why?' But that's just life. It's every job, not just mine. Every moment is not perfect. But it's definitely more good times than bad. You can't even compare. And when I'm on stage it feels incredible.
The simplicity we are looking for is not found in thought. It knows what you have to listen to in every moment and knows it can never make a mistake. It is the infinite working in the infinite. It projects into this world because we are here to do that.
All I wanted to do was be a professional film director with a body of work, and you're going to make some good films, some bad and some indifferent. You don't set out to make a dog, you set out to make something good. But I like them all.
But we have seen amazing things, good and bad, happen in this game, so you can never take anything for granted. I certainly don't. There are no guarantees, whether it is good bad or indifferent you just work hard to push the odds in your favour as regards myself and the team.
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