A Quote by Voltaire
Pleasantry is never good on serious points, because it always regards subjects in that point of view in which it is not the purpose to consider them.
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Education is one of the subjects which most essentially require to be considered by various minds, and from a variety of points of view. For, of all many-sided subjects, it is the one which has the greatest number of sides.
But every point of view is a point of blindness: it incapacitates us for every other point of view. From a certain point of view, the room in which I write has no door. I turn around. Now I see the door, but the room has no window. I look up. From this point of view, the room has no floor. I look down; it has no ceiling. By avoiding particular points of view we are able to have an intuition of the whole. The ideal for a Christian is to become holy, a word which derives from “whole.
Democracy cannot survive where there is such uniformity that everyone wears exactly the same intellectual uniform or point of view. Democracy implies diversity of outlook, a variety of points of view on politics, economics, and world affairs. Hence the educational ideal is not uniformity but unity, for unity allows diversity of points of view regarding the good means to a good end.
So I wanted to explore all points of view of that, not just the girl's but his point of view as well. Only by directing it could I explore all the points of view.
I make it a habit of never trying to judge what an audience might think, only because all points of view are too close, because we're doing it every day, I think that the actor's point of view is sometimes too close to what the material actually is.
I never seek controversy or foresee it for my pictures. I take a personal stand, and perhaps because my films are on contemporary subjects, people do not share my point of view.
I always have the feeling that my subjects are the same - I'm just changing my point of view. I'm going to move a little bit this time and watch it a different way. But at the end, I think I'm always fascinated by the same things, except I will express them over and over again, with different words, with different colors, with different shapes. But strangely it will always be the same topics or subjects that are so important to me.
By the time I got to school, I had already read a couple hundred books. I knew in the first grade that they were lying to me because I had already been exposed to other points of view. School is basically about one point of view -- the one the teacher has or the textbooks have. They don't like the idea of having different points of view, so it was a battle. Of course I would pipe up with my five-year-old voice.
I think you're always subjective because you always have a point of view, but I'm always sort of curious about what is the point of view I don't agree with. There is a truth in that because there always is.
If you're not on set, if you're not on stage, go to class. Find teachers you trust and who push you and who you respect as people. That's what you're getting with a teacher: a point of view. You end up taking those points of view and that turns into your point of view as an actor.
In theory we understand people, but in practice we can't put up with them, I thought, deal with them for the most part reluctantly and always treat them from our point of view. We should observe and treat people not from our point of view but from all angles, I thought, associate with them in such a way that we can say we associate with them so to speak in a completely unbiased way, which however isn't possible, since we actually are always biased against everybody.
I have often asked Americans wherein they consider their freedom superior to that of the English, but have never found them able to indicate a single point in which the individual is worse off in England as regards his private civil rights or his general liberty of doing and thinking as he pleases. They generally turn the discussion to social equality, the existence of a monarchy and hereditary titles and so forth - matters which are, of course, quite different from freedom in its proper sense.
I don't think that my art isn't serious. I think the subjects are not serious, or my treatments of the subjects are not serious. But then, I'm also putting down subject, because like the abstract expressionists, I don't think the subject is important.
I think the reason these readers come back to me is because I represent their points of view. It may not be my point of view, but that's OK. Everyone still deserves to have their say.
When you're researching things that have happened, the clear narrative arc is not there already. This is the problem of writing nonfiction for me - writing nonfiction which is about serious subjects and has serious political and social points to make, yet which is meant to be popular to a degree - what happens when the facts don't fit a convenient narrative arc? I guess that for a lot of nonfiction writers that is a central challenge.
The view which regards man as a well, a reservoir full of possibilities, I call the romantic; the one which regards him as a very finite and fixed creature, I call the classical.
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