A Quote by W. Somerset Maugham
The subjunctive mood is in its death throes, and the best thing to do is to put it out of its misery as soon as possible.
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It's subjunctive history. You know, the subjunctive? The mood used when something may or may not have happened. When it is imagined.
TV networks are dying. The death throes of religion give us jihads. The death throes of television give us reality shows.
I don't go out there and put on any sort of front for people. If I'm in a good mood, I appear in a good mood on TV, and if I'm in a bad mood, I just go out there and look like I'm in a bad mood.
Everybody has a calling. And your real job in life is to figure out as soon as possible what that is, who you were meant to be, and to begin to honor that in the best way possible for yourself.
If I waited to be in the mood to write, I'd barely have a chapbook of material to my name. Who would ever be in the mood to write? Do marathon runners get in the mood to run? Do teachers wake up with the urge to lecture? I don't know, but I doubt it. My guess is that it's the very act that is generative. The doing of the thing that makes possible the desire for it.
What I've always found interesting in gardens is looking at what people choose to plant there. What they put in. What they leave out. One small choice and then another, and soon there is a mood, an atmosphere, a series of limitations, a world.
In my opinion, the best thing you can do is find a person who loves you for exactly what you are. Good mood, bad mood, ugly, pretty, handsome, what have you, the right person will still think the sun shines out your ass. That's the kind of person that's worth sticking with.
You'd be lucky to get tortured to death in one of my films. It's the best thing that could happen to your career. But I'm very aware that as soon as you put women in this situation, all of a sudden people are like: "Wow, well wait a second!" Immediately, people become very sensitive to it.
There is no single best kind of death. A good death is one that is "appropriate" for that person. It is a death in which the hand of the way of dying slips easily into the glove of the act itself. It is in character, ego-syntonic. It, the death, fits the person. It is a death that one might choose if it were realistically possible for one to choose one's own death.
We make very little progress when we strive to conquer baser instincts in a good mood. However, vast strides are possible when we are miserable and work with ourselves to replace our misery with joy and understanding.
I always try to tell the story the best possible way. I create the mood for each scene in a way that the audience feels that they are right there with me and they feel actually in the mood that was right for the scene.
It is a sad thing to begin life with low conceptions of it. It may not be possible for a young man to measure life; but it is possible to say, I am resolved to put life to its noblest and best use.
When you write songs, you can't really point out the exact thing you're inspired by. It's more a state or a mood or an atmosphere that you're trying to put into words.
What has mood to do with it? You fight when the necessity arises—no matter the mood! Mood's a thing for cattle or making love or playing the baliset. It's not for fighting.
I want to start recording and writing as soon as I can and get music that I love out as soon as possible.
Dragging out life to the last possible second is not living to the best effect. The nearer the bone, the sweeter the meat. The best of life, Passworthy, lies nearest to the edge of death.
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