A Quote by Rob Corddry

People want other people to know that they share our sensibility even if they're not exactly sure what that sensibility is. — © Rob Corddry
People want other people to know that they share our sensibility even if they're not exactly sure what that sensibility is.
For me, sensibility is the location of talent. Sensibility comes first because only with the right kind of sensibility is talent useful. I've met many people who are extraordinarily talented but have no capacity to go outside of themselves or their field. I love those people, but they would not succeed in our culture.
I think our sensibility is not modernist anymore, that is, sensibility of people who are interested in art and literature.
I would say that what we called the Pixar sensibility goes back even further. It is kind of a CalArts sensibility because so many of the people who are creative instrumental people at Pixar came from that school.
I have no idea what a British sensibility or a British sense of humor is. I have no concept of what that is. I have no concept of what American sensibility is. I was born in Great Britain, but I was only there for six months, and we moved to Belgium, where I grew up. I love Britain, I lived there for nine years doing shows and things, but I don't know what a British sensibility is. I'd like to have someone tell me what an American sensibility is.
Why not work with your friends? It's working with people you know, and you share the same sensibility.
Intelligence, that sublimation of the sensibility, that organ of the need to know, is sterilized sensibility.
New York is all about sort of a corporate sensibility, and it is squeezed out room for any other kind of sensibility, money talks, bullshit walks, I guess.
I love Britain, I lived there for nine years doing shows and things, but I don't know what a British sensibility is. I'd like to have someone tell me what an American sensibility is.
If you didn't have the amalgam of Blacks and African-type sensibility and European sensibility, you wouldn't have jazz. Even in the negative and in the positive ways - if there was no slavery and the abolition of slavery, there would be no jazz.
I'm not an art director; I'm just not. I've always been somebody who has a sensibility that I hope is the same sensibility of others.
Most actors don't really have a director's sensibility. They have an actor's sensibility.
Any sensibility which can be crammed into the mold of a system, or handled with the rough tools of proof, is no longer sensibility at all. It has hardened into an idea.
I am religious by nature, I'm not a nihilist. I don't follow, I don't even know what the tenets of things like deconstructionism are, and all those schools that come up and their way of looking at things that people strive to incorporate into what they write. I don't even know what they are. Because I sense from a distance that I don't want to know. And therefore even if I had no politics, actual politics, my cultural point of view is hopelessly out of date with the modern literary sensibility. Which is nihilistic, and ironic, detached, cool, and cowardly.
You devise ways to tell a story that complies with your sensibility. Style and method are really extensions of your present sensibility.
We have the character of an island nation: independent, forthright, passionate in defence of our sovereignty. We can no more change this British sensibility than we can drain the English Channel. And because of this sensibility, we come to the European Union with a frame of mind that is more practical than emotional.
I've seen it personally that people have a natural sensibility to Arabic script. I don't know it if it's because of the shape, I don't know what it is in this script that makes it so universal. But even if you don't understand it, you still have this feeling; you can feel the piece of art in front of you.
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