A Quote by Suriya
When you act, you want to emote and think in that language. I don't enjoy the process of doing a film in a language I am not good with.
Related Quotes
I don't hate language. I have my own language, but I also enjoy the English language. Obviously, you don't read a lot of literature and not care about language.
Language designers want to design the perfect language. They want to be able to say, 'My language is perfect. It can do everything.' But it's just plain impossible to design a perfect language, because there are two ways to look at a language. One way is by looking at what can be done with that language. The other is by looking at how we feel using that language-how we feel while programming.
I definitely have moments in my life where I discovered a film, and the language of the film itself spoke to me in a way, as if someone came up to you and started speaking a language you'd never heard but understood and was able to express things the language you knew could not.
The most important thing in the programming language is the name. A language will not succeed without a good name. I have recently invented a very good name and now I am looking for a suitable language.
I am happy to do a film in Bengali language as I know and love that language.
One way to think about what psychedelics are is as catalysts for language development. They literally force the evolution of language. You cannot evolve faster than your language because the language defines the culture of meaning. So if there's a way to accelerate the evolution of language then this is real consciousness expansion and it's a permanent thing. The great legacies of the 60's are in attitudes and language. It boils down to doing your own thing, feeling the vibe, ego-trip, blowing your mind.
We believe we can also show that words do not have exactly the same psychic "weight" depending on whether they belong to the language of reverie or to the language of daylight life-to rested language or language under surveillance-to the language of natural poetry or to the language hammered out by authoritarian prosodies.
I am an actor and I don't have any language barrier. If I get a Tamil film, I will learn the language. It's not a problem.
On stage, you're not limited at all because you're free in language: language is the source of the imagination. You can travel farther in language than you can in any film.
The earliest language was body language and, since this language is the language of questions, if we limit the questions, and if we only pay attention to or place values on spoken or written language, then we are ruling out a large area of human language.
I look at a film as just a film; language doesn't really matter. I just don't want to limit myself to a particular language, genre or medium.
We switch to another language-- not our invented language or the language we've learned from our lives. As we walk further up the mountain, we speak the language of silence. This language gives us time to think and move. We can be here and elsewhere at the same time.
I am adding another language to the spoken language, and I am trying to restore to the language of speech its old magic, its essential spellbinding power, for its mysterious possibilities have been forgotten.
I'm an infant with Shakespeare; I'm kind of learning how to walk. I am trying to decipher the code, you know? I do my research. And I get a clear understanding of what the language is. It is a tremendous process I have to go through as I am sure all actors do, finding the gems hidden in his language.
What I am doing is creating a language. A different American language.
Syntax and vocabulary are overwhelming constraints --the rules that run us. Language is using us to talk --we think we're using the language, but language is doing the thinking, we're its slavish agents.
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