A Quote by Timothy Hutton
What I learned at that moment on the subway 30 years ago, staring at my blank passport, was this: If you have an impulse to do something, and it's not totally irresponsible, why not do it? It might just be the journey you've always needed.
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If you look at Hollywood today, compared to five years ago, 10 years ago, 20 years ago or 30 years ago, the change from moment to moment has always been extraordinary. It never stops moving.
Just dash something down if you see a blank canvas staring at you with a certain imbecility. You do not know how paralyzing it is, that staring of a blank canvas which says to the painter: you don't know anything.
I learned to live many years ago. Something really, really bad happened to me, something that changed my life in ways that, if I had my druthers, it would never have been changed at all. What I learned from it is that today seems to be the hardest lesson of all. I learned to love the journey, not the destination. I learned that it is not a dress rehearsal, and that today is the only guarantee you get. I learned to look at all the good in the world and to try to give some of it back because I believed in it completely and utterly.
A little more than 30 years ago, Bernie Marcus, Arthur Blank, Pat Farrah and I got together and founded The Home Depot.
After almost 30 years of playing this sport, I've learned something. I've learned that, no matter what happens, or happened... or where you are, or where you've been... at the end of the day: tennis is tennis. It's always, always tennis. And there's nothing better.
Just slap something on it when you see a blank canvas staring at you with a sort of imbecility.
When I use the term "complex realism", what I'm suggesting is that the writer must be realist, always realist, but not realist in the sense we have usually used the term in literature. If reality today is different from the reality of 30 years ago, we can't keep describing reality in the same way as we did 30 years ago.
We have made a huge amount of progress over the last 50 years by enabling trade, by enabling kind of collaboration and learning. And actually, in fact, when you look at your average 30-year-old today, they're much better off than a 30-year-old 20 years ago, 30 years ago, because of progress in technology and health care and all the rest of this.
The past is always - one moment it's what happened three minutes ago, and one minute it's what happened 30 years ago. And they flow into each other in ways that we can't predict and that we keep discovering in dreams, which keep bringing up feelings and moments, some of which we never actually saw.
America is much less violent than it was 20, 30 years ago, and immigration is much less a problem than it was not just 20, 30 years ago, but when I came in as president.
If you have always believed that everyone should play by the same rules and be judged by the same standards, that would have gotten you labeled a radical 60 years ago, a liberal 30 years ago and a racist today.
If at noon you sit down and there's just silence or blank tape, in an hour if you have a song, that didn't exist an hour ago. Now it exists and it might exist for a long time. There's something empowering about that.
I believe very strongly, and have fought since many years ago - at least over 30 years ago - to get architecture not just within schools, but architecture talked about under history, geography, science, technology, art.
At one point I learned transcendental meditation. This was 30-something years ago. It took me back to the way that I naturally was as a child growing up way in the country, rarely seeing people. I was in that state of oneness with creation and it was as if I didn't exist except as a part of everything.
My family called me the 'why kid' growing up. I always needed to know why something is happening, why I had to do something, why whatever.
Just slap anything on when you see a blank canvas staring you in the face like some imbecile. You don't know how paralyzing that is, that stare of a blank canvas is, which says to the painter, ‘You can't do a thing’. The canvas has an idiotic stare and mesmerizes some painters so much that they turn into idiots themselves. Many painters are afraid in front of the blank canvas, but the blank canvas is afraid of the real, passionate painter who dares and who has broken the spell of `you can't' once and for all.
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