A Quote by William Golding
The man who tells the tale if he has a tale worth telling will know exactly what he is about and this business of the artist as a sort of starry-eyed inspired creature, dancing along, with his feet two or three feet above the surface of the earth, not really knowing what sort of prints he's leaving behind him, is nothing like the truth.
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The artist usually sets out -- or used to -- to point a moral and adorn a tale. The tale, however, points the other way, as a rule. Two blankly opposing morals, the artist's and the tale's. Never trust the artist. Trust the tale. The proper functions of a critic is to save the tale from the artist who created it.
I know I'm guilty of and I think a lot of people are guilty of sort of getting starry-eyed with love and sort of looking over the bad things and keep going and you don't really prepare for how much work marriage really is.
Therefore I tell my sorrows to the stones; Who, though they cannot answer my distress, Yet in some sort they are better than the tribunes, For that they will not intercept my tale: When I do weep, they humbly at my feet Receive my tears and seem to weep with me; And, were they but attired in grave weeds, Rome could afford no tribune like to these.
There's no sort o' mistake in little Bullet. He can pick up miles on his feet, and fling 'em behind him as fast as the next man's hoss, I don't care where he comes from. And he can keep at it as long as the sun can shine without resting.
The therapist can interpret, advise, provide the emotional acceptance and support that nurtures personal growth, and above all, he can listen. I do not mean that he can simply hear the other, but that he will listen actively and purposefully, responding with the instrument of his trade, that is, with the personal vulnerability of his own trembling self. This listening is that which will facilitate the patient's telling of his tale, the telling that can set him free. (5)
I want to emphasize the fact that we all have the same experience and the same concern, but the artist must know exactly what the experience is. He must pursue the truth relentlessly. Once he sees this fact his feet are on the path. If you want to know the truth you will know it. The manipulation of materials in an artwork is a result of this state of mind. The artist works by awareness of his own state of mind.
I've been with the project for like three years: creating it, pushing it. [There] becomes a certain doubt when you're pitching this story to people. ["The Land" is] a cautionary tale. It's not the brightest or best ending to a film when you're telling a cautionary tale about four kids, kids who are killing each other, kids who are products of the streets.
We will eventually build space science labs and hotels, prodding the capability for missions beyond the orbit of the Earth. Our space-hotel guests will be able to take breath-taking excursions, flying a couple of hundred feet above the Moon's surface in small two-man spaceships. In time, we will launch missions to Mars and beyond.
Understand me: I wish to be a man from somewhere, a man among men. You see, a slave, when he passes by, weary and surly, carrying a heavy load, limping along and looking down at his feet, only at his feet to avoid falling down; he is in his town, like a leaf in greenery, like a tree in a forest, argos surrounds him, heavy and warm, full of herself; I want to be that slave, Electra, I want to pull the city around me and to roll myself up in it like a blanket. I will not leave.
Heaven is high and earth wide. If you ride three feet higher above the ground than other men, you will know what that means.
I believe in spiritualism. It's like, when you listen to music or something and then you're sort of primed. If you're an artist, you're sort of primed and inspired, and you start drawing, you sort of have the spirit of what you're listening to, still in you. You just have sort of an inspiration.
Why, did you know that if a beaver two feet long with a tail a foot and a half long can build a dam twelve feet high and six feet wide in two days, all you would need to build Boulder Dam is a beaver sixty-eight feet long with a fifty-one-foot tail?" "Where would you find a beaver that big?" grumbled the Humbug as his pencil point snapped. "I'm sure I don't know," he replied, "but if you did, you'd certainly know what to do with him.
That's what we do, man, we're like storytellers. We tell you stories from the streets. Whether we did it before when we was young or we heard it from one of the homies telling us a tale of what he been through. It's all in having fun and creating a movie like vibe to tell a tale from the streets.
I have a trainer, and I'm not a trainer person. I don't like the attention. I don't like the one-on-one scrutiny. But I've had to enter into a very sort of rigorous rehabilitation program to avoid surgery on my back. I've already had four surgeries on my feet and two on my knee - all from Broadway dancing injuries. On Broadway, they don't really rehab the dancers like they do in sports. It's, "The show must go on" .
The man running toward me is not a man, he is a boy. A shaggy-haired boy with a crease between his eyebrows. Will. Dull-eyed and mindless, but still Will. He stops running and mirrors me, his feet planted and his gun up. In an instant, I see his finger poised over the trigger and hear the bullet slide into the chamber, and I fire. My eyes squeezed shut. Can't breathe. The bullet hit him in the head. I know because that's where I aimed it.
Brody cannot believe the size of the creature, and with a classic, practical understatement tells Quint his assessment: You're gonna need a bigger boat. Awestruck, they all view the full-sized, massive shark circling the boat. Quint estimates it is 25 feet long: Three tons of him.
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