A Quote by Stuart Franklin

Environmentalism is a personal thing - but it's also a planetary thing. It's about making deep connections. But it's also about recognizing the very human connection between species diversification and ourselves.
The contrasting focus on connection versus hierarchy also sheds light on innumerable adult conversations - and frustrations. Say a woman tells another about a personal problem and hears in response, 'I know how you feel' or 'the same thing happens to me.' The resulting 'troubles talk' reinforces the connection between them.
In very general terms 'Top Of The Lake' is about good and evil. It's a deep dark mystery. It also deals with lots of fascinating human relationships, and it's also about the battle of the sexes.
In a large congregation, while there is a wide diversification of interest, it is also true that there are only a few basic human problems. It must also be taken into consideration that people are people regardless of who they are or what their backgrounds may be. There are certain deep universal appeals to human interest and to these human nature always responds.
Heavy Connection is just basically about psychic stuff...it's kind of about connections that you're not normally making. It's like a fate number where you're making psychic connections that you're not really aware of but they're there.
If I had a worldview, and I don't know if I do, but if I did, it's one that's intensely humanistic. [That worldview] is that the only thing that matters is family and personal connection, and that's the only thing that gives life meaning. Religion and gods and beliefs - for me, it all comes down to your brother. And your brother might be the brother in your family, or it might be the guy next to you in the foxhole, it's about human connections.
I think, we can only write very personal matters through our experience. When I named my first novel about my son "A Personal Matter," I believe I knew the most important thing: there is not any personal matter; we must find the link between ourselves, our "personal matter," and society.
The way I grew up, I had a lot of personal issues with art. It's an individual thing, but I also think it's kind of Midwestern: You do your thing, but you don't talk about it. You make sure it's not such a big deal, and keep it very low-key.
Surgery is a complicated thing to talk about, but I guess it could also be a dangerous thing to play with if you're not very secure about what you're doing.
The very thing about people that makes the human race interesting is also the thing that makes it so hard to get anything done without the most horrible confusions: no two people think exactly the same way about anything.
It's what is strange about doing a job that is also the thing you love, the thing you feel passionate about. People get to the point where they're burned out and disillusioned by the whole thing because when things aren't going well at work it also means they aren't going well in your heart, in your soul. They're all wrapped up together.
The great thing about being the only species that makes a distinction between right and wrong is that we can make up the rules for ourselves as we go along.
A hidden nerve is what every writer is ultimately about. It's what all writers wish to uncover when writing about themselves in this age of the personal memoir. And yet it's also the first thing every writer learns to sidestep, to disguise, as though this nerve were a deep and shameful secret that needs to be swathed in many sheaths.
Virtue also depends on ourselves. And so also does vice. For where we are free to act we are also free to refrain from acting, and where we are able to say No we are also able to say Yes; if therefore we are responsible for doing a thing when to do it right, we are also responsible for not doing it when not to do it is wrong, and if we are responsible for rightly not doing a thing, we are also responsible for wrongly doing it.
The whole thing about making films in an organic film on location is that it's not all about characters, relationships and themes, it's also about place and the poetry of place. It's about the spirit of what you find, the accidents of what you stumble across.
But I think 'Love, Actually' has a very realistic view of human nature in line with the latest scientific evidence. The opening scene, where Hugh Grant's character talks about the arrivals gate at Heathrow, is about friendship and connection, it's about who we really are as a species.
Love is connection with others. Union with another human being or living thing. That's also Yoga.
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