A Quote by Sergio Chejfec

The walk is like a matrix, like a diffuse, vague happening. It's like - imagine a play, a work of theatre, that is totally vague, almost devoid of details that consists in one person going on a walk. And as a consequence, there is a necessary tension between the determinacy and indeterminacy, the definite and the indefinite, of possibility.
The process of philosophizing, to my mind, consists mainly in passing from those obvious, vague, ambiguous things, that we feel quite sure of, to something precise, clear, definite, which by reflection and analysis we find is involved in the vague thing that we start from, and is, so to speak, the real truth of which that vague thing is a sort of shadow.
I'm the opposite of someone like David Grossman, who knows how his characters walk, and how they smell. I don't allow myself to imagine what mine look like at all. My sense of them comes from the inside. They remain, by necessity, physically vague in my mind.
Evolution ... is really two theories, the vague theory and the precise theory. The vague theory has been abundantly proved.... The precise theory has never been proved at all. However, like relativity, it is accepted on faith.... On getting down to actual details, difficulties begin.
I've found that in fiction - and this is just the kind of writer I am - I can't really work from an outline. I have a vague idea of the characters at the beginning of the book, and then I have a vague idea of whatever the end of the book will be, but I can't approach creative nonfiction like that.
I'm playing first base and pitching and hitting. I feel like I'm almost better than I've ever been. It's like, 'You're going to walk away like this?'
In the mornings I used to say goodbye to my wife like someone going to work. I'd leave the house, walk around a few blocks, and come back like a person arriving at the office.
For me, making films is like being on vacation, it's a nice walk. But theatre is like mountaineering. You never know whether you're going to fall off or make it to the top.
I'd like to walk that fine line between the authentic artist self and the manufactured artist self. I'd like to exist outside of a set of expectations or assumptions about what the Kehinde Wiley brand is. And I'd like to walk towards something that's a bit more unpredictable, human.
The hardest thing for me is walking. Can you imagine you've got a metal pole and if you put pressure on it like a strong walk, you can walk.
The contortions and games of identity that politicians play on themselves almost everyday is kind of extraordinary. Trump, for instance, speaks like a five-year-old in these vague generalities but then also makes out that he's an expert on everything; he's trying to have his cake and eat it. He's someone who is pretending that he's for the working person but comes from this enormously privileged background.
Pass the popcorn, please. Life is a film, theatre, a theatre of the soul. We play different roles on different stages. At death, we walk offstage. At birth, we walk onstage.
Now I know what loneliness is, I think. Momentary loneliness, anyway. It comes from a vague core of the self - - like a disease of the blood, dispersed throughout the body so that one cannot locate the matrix, the spot of contagion.
You had actors that came from live theatre and it felt like you're doing a play. Every time we did a three or four minute walk-and-talk in the West Wing, the exhilaration of going on stage would be a part of it.
I feel like everyone puts a lot of question on me, what I'm going to do offensively, but I'd like to affect the game in a lot of ways. If I can walk, I walk. If I can hit a homer, if I can bunt.
If you want to write a love song, you need to not try to write it for a particular person in a particular situation. It needs to be vague, otherwise you're going to fall into trap after trap of trying to rhyme with somebody's name. Keep it vague.
For one thing, I like to walk when I play golf. Now I don't walk the whole way, but I try not to be the driver when in a cart.
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