A Quote by Tim Allen
The world's a mean place. It's unfair, then it's fair. It's hateful, then it's loving. It's a very peculiar place on philosophical and metaphysical and religious levels.
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The world is a very troubled, very chaotic place. It's a very cold place. It's a very unjust and unfair place in many ways. [As a moviemaker] I have very limited ability to have an impact over all that.
People clearly want to believe that the world is a just and fair place. It provides them a sense of control and makes them psychologically comfortable. But believing that the world is a just and fair place causes people to not do enough to take care of themselves and to be unprepared for when it isn't so nice. So, people need to understand their tendencies to see the world as just and fair and then be realistic about the actual conditions in which they find themselves.
I'm very interested in buildings that have meaning for a particular place. I suppose it feels slightly rude to me if the imposed style that lands in a place is almost stronger than the place. For me it's about inventing a solution for each place; if people then want to know who did it, then great.
It takes time for change to take place. But then when huge changes are taking place, they are extraordinary. And it requires a kind of philosophical thinking, thinking in terms of epochs.
The world starts to exist, for Americans, when we are in conflict with a place. And then all of a sudden, Afghanistan pops up on the TV screen and it becomes a place. And it exists for three weeks and then it disappears into thin air.
The world starts to exist, for Americans, when we are in conflict with a place. And then all of a sudden, Afghanistan pops up on the TV screen and it becomes a place. And it exists for three weeks, and then it disappears into thin air.
There are even some radical leftists who look at it as that but then go further and say, "Because we have been so exclusionary and because it's been so unfair that America has been so rich, it's so unfair that America has been this one place in the world, it's not because of us, and we deserve to pay a price."
I mean, what if love isn't a yes-or-no question? It's not either you're in love or you're not. I mean, aren't there different levels? And maybe these things, like words and expectations and whatever, don't go on top of the love. Maybe it's like a map, and they all have their own place, and then when you see it from the sky - whoa.
If you look at any religious description of hell, it is the same as human society, the way we dream. Hell is a place of suffering, a place of fear, a place of war and violence, a place of judgment and no justice, a place of punishment that never ends.
I look at myself at 19 and think I would never do what I did then now! I was so brazen, so confident, so fearless in a way. And remember, the world was a very aggressive place then.
It's a dark, cool, quiet place. A basement in your soul. And that place can sometimes be dangerous to the human mind. I can open the door and enter that darkness, but I have to be very careful. I can find my story there. Then I bring that thing to the surface, into the real world.
I usually have a location and then I put the character there. I love place names. I think I'm tricking myself by being so specific - it suddenly becomes real to me. Just because I say it's Chicago, Illinois doesn't mean it's true, but place names sort of make me grounded and then I can put some people there.
The world is a very unjust, unfair place and we have to live with that. Historically, there is impunity for most crimes.
I truly believe that to stay home, to learn the names of things, to realize who we live among . . . then I believe a politics of place emerges where we are deeply accountable to our communities, to our neighborhoods, to our home . . . If we are not rooted deeply in place, making that commitment to dig in and stay put . . . then I think we are living a life without specificity, and then our lives become abstractions. Then we enter a place of true desolation.
It is in the irony of things that the theatre should be the most dangerous place for the actor. But, then, after all, the world is the worst possible place, the most corrupting place, for the human soul. And just as there is no escape from the world, which follows us into the very heart of the desert, so the actor cannot escape the theatre. And the actor who is a dreamer need not. All of us can only strive to remain uncontaminated. In the world we must be unworldly, in the theatre the actor must be untheatrical.
I was living in Paris, which is a very beautiful, very wonderful place, but a tight place as a city, a tight place culturally. Its people are very brilliant, thoughtful, the place functions, but it's a historical place in some ways, like a big museum.
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