A Quote by Suzanne Collins
It's your own fault for being so camera-ready," I tell Gale. If looks could kill.
Related Quotes
A couple of days back, I got into a car accident. Not my fault. Even if it's not your fault, the other person gets out of their car and looks at you like it's your fault: Why did you stop at a red light and let me hit you doing 80!
I can't help comparing what I have with Gale to what I'm pretending to have with Peeta. How I never question Gale's motives while I do nothing but doubt the latter's. It's not a fair comparison really. Gale and I were thrown together by a mutual need to survive. Peeta and I know the other's survival means our own death. How do you sidestep that?
People tell you the world looks a certain way. Parents tell you how to think. Schools tell you how to think. TV. Religion. And then at a certain point, if you're lucky, you realize you can make up your own mind. Nobody sets the rules but you. You can design your own life.
I tell you one thing. If you want peace of mind, do not find fault with others. Rather learn to see your own faults. Learn to make the whole world your own. No one is a stranger, my child; this whole world is your own.
There are a lot of people who can't find housing, who worry about the future, and that insecurity and precarity in their own lives is being exploited by some politicians who are using it to divide us by saying, 'hey it's the fault of new Canadians, it's the fault of refugees, it's the fault of Muslims.'
Do not keep silent when your own ideas and values are being attacked. If a dictatorship ever comes to this country, it will be by the fault of those who keep silent. We are still free enough to speak. Do we have time? No one can tell.
"I'm so sorry," I whisper. I lean forward and kiss him. His eyelashes flutter and he looks at me through a haze of opiates. "Hey, Catnip." "Hey, Gale," I say. "Thought you'd be gone by now," he says. My choices are simple. I can die like a quarry in the woods or I can die here beside Gale. "I'm not going anywhere. I'm going to stay right here and cause all kinds of trouble." "Me, too," Gale says. He just manages a smile before the drugs pull him back under.
The difference between poetry and rhetoric
is being
ready to kill
yourself
instead of your children.
I wasn't ready for fame and all that brings to your life. It was an amazing experience, but so overwhelming, because no one can tell you beforehand when it will happen or how it will impact you. So no one can tell you how to handle it, being stopped everywhere you go because people saw you on 'Oprah.' It took me over, and I wasn't ready.
The real conflict in the abortion issue is between a value - the right to choose whether or not to have the child - and a moral dictum - don't kill other humans. The more here, even, is flexible and relative. "Thou shall not kill" really means, "don't kill productive, contributing members of your own society that aren't a threat to your safety." If it was not relative, then no "Judeo-Christian" person could ever go to war or execute someone.
You must speak the vision of your project in a way that convinces people to pay for it. If they won't pay for it, that is the artist's fault. It is my fault. It is your fault. It is not the executive's fault or the world's.
The camera has a mind of its own--its own point of view. Then the human bearer of time stumbles into the camera's gaze--the camera's domain of pristine space hitherto untraversed is now contaminated by human temporality. Intrusion occurs, but the camera remains transfixed by its object. It doesn't care. The camera has no human fears.
Return to your friends and tell them that we came here with no peaceful intent, but ready for battle, and determined to avenge our own wrongs and set our country free. Let your masters come and attack us: we are ready to meet them beard to beard.
I could take a cow and implant a camera in it and let it amble around the city or in its own domain (I say a cow because a human being I would not trust). If the camera was programmed to go off at an indeterminate series of moments, the samplings would be fantastic.
Even if you're not being chased by paparazzi, there will be someone doing selfies, so everybody has to be camera-ready all the time. Whoever you are, everybody has to be ready now!
There was actually a camera on your face. I don't know so much about the animation process but the camera was in our face so it could get expressions from our faces that would eventually arrive on the gnomes. It almost felt like you were cheating at times because it was a wee bit too much fun. You were in that box on your own. Kelly [Asbury] was in Toronto, I was in LA, so I was just on my own. I thought: "I can't be getting paid for this as well!"
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