A Quote by Tahir Raj Bhasin

It's always interesting exploring something that has dimensions and layers to it. — © Tahir Raj Bhasin
It's always interesting exploring something that has dimensions and layers to it.
I think that layers in music, whether it's layers juxtaposing emotions and feelings or layers of texture, make for a more interesting product.
It's nice to see different dimensions of a character. A love interest and family life are always, I think, important in creating layers and textures.
Everything in Louisiana is about layers. There are layers of race, layers of class, layers of survival, layers of death, and layers of rebirth. To live with these layers is to be a true Louisianian. This state has a depth that is simultaneously beyond words and yet as natural as breathing. How can a place be both other-worldly and completely pedestrian is beyond me; however, Louisiana manages to do it. Louisiana is spooky that way.
You're always choosing the start point and the end point. And almost by definition, the most interesting period is where something happens, as a result of which something is different at the end. And so to me, the idea that you know everything about a character at the beginning is sort of ridiculous. Something has to be revealed. I like it when the deeper you go with the character, the more you see the layers start to peel away. It's more challenging to me, but it's also just interesting. Those are the things I like to watch. I like to watch the evolutions of something.
The problem with filming something is that we struggle desperately to make three dimensions out of two dimensions. It can't be done.
You are a victim of your own neural architecture which doesn't permit you to imagine anything outside of three dimensions. Even two dimensions. People know they can't visualise four or five dimensions, but they think they can close their eyes and see two dimensions. But they can't.
I buried everything under layers and layers and layers of code, but the signifiers of my emotionality were there, for me.
Because there is something psychologically wrong with you on some level if you want to be on TV, if the only way you can fulfill yourself is by literally going from three dimensions to two dimensions.
The theory has to be interpreted that extra dimensions beyond the ordinary four dimensions the three spatial dimensions plus time are sufficiently small that they haven't been observed yet.
There are always dimensions, and the way they get expressed is through the writing and the actors and the director you get to work with on that day. But there are always dimensions, outside of really basic stuff for very young people where it needs to be very clear.
In film and theater, you know the story and the journey from beginning to end, but with TV, you can keep peeling away layers and exploring a new world each week.
Your understanding of the astral dimensions can help you alter structures in the physical dimensions. It is in and through the medium of the astral dimensions that all of the siddha powers function and work.
I have to strip away all the layers when I'm writing the song. I have to cut through all these layers of years of putting up walls and putting protective layers around myself.
We are, always, poets, exploring possibilities of meaning in a world which is also all the time exploring possibilities.
I collect paint like I collect sound. And then I use layers, layers, layers.
It would be amazing to play Sylvia Plath. She was so dark, and what came out of her writing was troubled and fierce. The dimensions, levels, layers and levels would be incredible to take on.
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