A Quote by Peter Frampton
I think 'I'm in You' was lackluster and way too light.
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I feel also that the rhythm of a production is made by the lighting. If it feels like it's too long and too slow, it may well be because the light is changing in a way that makes the audience feel that way. Definitely I feel that light and music are very closely related.
I see a lot of girls whose concealer is way too light, or their foundation is way too dark, or I can see when their neck and face color don't match. I think it's very important to find the right foundation and concealers and the right brands that really complement your skin.
I always wanted to make a light that looks like the light you see in your dream. Because the way that light infuses the dream, the way the atmosphere is colored, the way light rains off people with auras and things like that...We don't normally see light like that. But we all know it. So this is no unfamiliar territory - or not unfamiliar light. I like to have this kind of light that reminds us of this other place we know.
I like writing dialog but don't think I'd be much good at a screenplay. I once had to write a treatment for a novel of mine - a condition of its being optioned by a movie producer - and I turned out something pretty lackluster. So my inclination would be to stay out of the way of an experienced screenwriter.
I think that, in terms of mainstream storytelling, the rebel gets off way too easy. We're way too hard on the insiders and way too soft on the outsiders.
I do not believe, as do so many musicians, that genius should be left to fight its way to the light. Genius is too rare, too precious, to be permitted to waste the best years of life--the years of youth and lofty dreams--in a heart-breaking struggle for bread. To starve the soul with the body is to do worse than murder. Think, too, of what the public loses!
Nothing ever seems too bad, too hard or too sad when you've got a Christmas tree in the living room. All those presents under it, all that anticipation. Just a way of saying there's always light and hope in the world.
In music I still prefer the minor key, and in printing I like the light coming from the dark. I like pictures that surmount the darkness, and many of my photographs are that way. It is the way I see photographically. For practical reasons, I think it looks better in print too.
The way that the background fields generates mass is rather like the way in which when light passes through a transparent medium like glass or water, it gets slowed down. It no longer travels with the fundamental velocity of light c. And that's the way to think of the generation of mass.
I'm known as a light artist. But rather than be someone who depicted light, or painted light in some way, I wanted to have the work be light.
But in the end all religions point to the same light. In between the light and us, sometimes there are too many rules. The light is here and there are no rules to follow this light.
Summer nearly does me in every year. It's too hot and the light is unforgiving and the days go on way too long.
I'm over-passionate and in general people think I'm way too intense and way, way, way too hardheaded.
But it's never just been the journals that have made the difference, I don't think. It's also the way the students are with one another . . . the way they talk about books and authors and themselves. Not just their problems, but their passions too. The way they form a little society and discuss whatever matters to them. Books light the fire-whether it's a book that's already written, or an empty journal that needs to be filled in.
We have to rethink the way we light our cities. We have to think again about light as a default solution. Why are all these motorways permanently lit? Is it really needed? Can we maybe be much more selective and create better environments that also benefit from darkness? Can we be more gentle with light?
David Haye is too light. Simply too light. He's not a real heavyweight.
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