A Quote by Slavoj Žižek

In Stalinism the tragedy is that its origin is some kind of radical emancipatory project. In the origins you had a kind of workers' uprising; the true enigma is how this project of emancipation went so wrong.
Seeing a woman project the kind of aggression that you have to project as a comic just rubs me wrong.
I've been really lucky that I've kind of gotten to flow from project to project, because I find it's very important that when you're on a project, you are so invested in it.
I'm strictly a one-project-at-a-time kind of guy. If I came up with a compelling idea for a different book while working on a project, I'd probably abandon the first project and go with the new idea.
It depends on the project, what's happening that day on the project, at what stage were in on the project; it various from project to project and where we're needed.
Howard Zinn ran what is called the Zinn Education Project. It is a radical, radical bunch of insane lunatic leftists. And there is a project at the Zinn Educational Project: A People's History of Muslims in the United States - What School Textbooks and the Media Miss. And this program is teaching your high school student, juror junior high or middle school student.
Every project that I had an opportunity to do or chose to do, I wanted it to be different from the last thing I did, and I think that's why I have a good, I had kind of a diverse kind of résumé.
I never had a lot of ideas. I always have exactly one that is the next project; the idea of a project beyond that project is ludicrous.
How come actors feel like they have to give some kind of personal revelation attached to the project?
I try to just be open to what the next experience is and how it makes me feel, just reading a project, or trying to get involved with a project, or thinking about a project, and what particular emotional flavor that brings. To me, it's never really about planning the next thing, or the career arc. It's about investigating how I feel, from project to project, and finding things that I haven't explored and what that would be like.
Well it kind of is project to project because as a writer I think you always write to some degree about things that you know or things that happened - but my favourite filmmakers, my favourite movies of theirs tend to be the personal movies.
I've kind of gone from TV series to TV series or project to project, and I've wanted to get back in a rehearsal room. I feel like there's that exploration process, in a way, that you get in phases on jobs but I do wish I had that time [at school].
My mother was in the kind of late-'60s, early-'70s origins of female emancipation. And she was very much like, 'You're not going to be defined by how you look. It's going to be about who you are and what you do.'
My mother was in the kind of late-sixties, early-seventies origins of female emancipation. And she was very much like, "You're not going to be defined by how you look. It's going to be about who you are and what you do."
Every project you're involved in and any character that you're invested in ... you learn a message from that experience. I know that sounds a little cheesy, but it's true. Its kind of funny the parallel that I drew from that, you kind of learn something and you get to apply it to the next thing.
I can pretty much spend an entire week talking about how the writing process works, to be honest! It can really vary from project to project and is often dependent on when you're brought on board, the genre, the platform and the narrative desires of the project.
When the government undertakes or approves a major project such as a dam or highway project, it must make sure the project's impacts, environmental and otherwise, are considered. In many cases, NEPA gives the public its only opportunity to be heard about the project's impact on their community.
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