A Quote by Rowan Williams
Quite a lot of our contemporary culture is actually shot through with a resentment of limits and the passage of time, anger at what we can't do, fear or even disgust at growing old.
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I feel that rich women are soft targets.... There's a lot of legitimate resentment and anger about inequality in our culture, about money... I feel like a lot of the anger about income disparity is aimed not at wealthy men, but at wealthy women.
Not forgiving prolongs hurt and anger and leads to smoldering resentment, which will make us miserable until it kills us. Resentment destroys the perception of reality. As we try to bend the world to accommodate our resentment, fear, and selfishness, we become less accurate in understanding the world. This eventually destroys our ability to cope successfully with life.
You know, I have never seen the level of anger and frustration and resentment and even disgust among millions of Americans toward the media. And I think there are a lot of self-inflicted wounds here, big mistakes that are not learned from, but also a lot of it the byproduct of a campaign in which the press appeared to be out of touch with the frustration of the many millions of Americans who helped put Donald Trump into the White House and just the way we botched it.
To be contemporary actually means to be an artist. [But] I do not feel contemporary in my work. I perceive my work as old-fashioned. It does not have a frame of actuality in our time or locality.
At the time, 1980, people regarded actresses involved with production with a certain amount of fear, resentment and anger.
Feelings like disappointment, embarrassment, irritation, resentment, anger, jealousy, and fear, instead of being bad news, are actually very clear moments that teach us where it is that we're holding back.
I've seen so many young filmmakers - even professional filmmakers who get a Hollywood deal - they don't quite know where to begin, where to end, and they'll waste a lot of time making this perfect shot, an establishing shot, and then there's no time left to shoot the dialogue.
I think that popular culture takes a long time to catch up to what's actually happening in the world. Women have had to take care of themselves for quite a while. Actually, not had to take of themselves, but have wanted to take care of themselves, so I think it's a big transition that our country and our society has been going through a long time.
Part of what attracted me to the village was it had a lot of parallels to contemporary issues. Like, fear and the way fear controls us. How the governing body of a town, or a nation, controls us through fear. They might mean well by it, but we are conditioned to be afraid of things. Fear of the unknown. Fear of terrorism. And it's unfortunate.
To think deeply in our culture is to grow angry and to anger others; and if you cannot tolerate this anger, you are wasting the time you spend thinking deeply. One of the rewards of deep thought is the hot glow of anger at discovering a wrong, but if anger is taboo, thought will starve to death.
Now we come to the passage. You can just see a little peep of the passage in Looking-glass House, if you leave the door of our drawing room wide open: and it's very like our passage as far as you can see, only you know it may be quite different on beyond.
After 9/11, we had this "terrorist-Muslim-threat" in the US but at the same time, next to that, in Holland we had this growing awareness that the so-called integration of new Dutch people, a lot of those that had come to live and work in our country originated from countries such as Turkey and Morocco, and a lot of them are actually Muslim, wasn't quite the success the state always had thought it was. The "new" Dutch didn't feel totally accepted, treated as second-rate citizens, and parts of the "old" Dutch suddenly believed that the new ones were trying to destroy our society.
The emotions - love, mirth, the heroic, wonder, tranquility, fear, anger, sorrow, disgust - are in the audience.
The Light of the Christ within now wipes out all fear, doubt, anger and resentment. God's love pours through me, an irresistible magnetic current. I see only perfection and draw to me my own.
We fear discovering that we are more than we think we are. More than our parents/children/teachers think we are. We fear that we actually possess the talent that our still, small voice tells us. That we actually have the guts, the perseverance, the capacity. We fear that we truly can steer our ship, plant our flag, reach our Promised Land. We fear this because, if it’s true, then we become estranged from all we know. We pass through a membrane. We become monsters and monstrous.
I have a big, long episode [in Full Circle] with Calista [Flockhart], and then my character actually carries out through a lot of it because he was a cop investigating this crime. But it is almost hard to remember, even though it wasn't that long ago. We shot it so fast. We literally shot that whole episode in one day.
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