Sometimes I envy painters, it is wonderful to remain in front of a bouquet of flowers a whole morning, or even longer. A photographer is like a cloud, pushed all around, always dependent on the exterior world. That's what I sometimes feel as a pain and an error.
The work of art, just like any fragment of human life considered in its deepest meaning, seems to me devoid of value if it does not offer the hardness, the rigidity, the regularity, the luster on every interior and exterior facet, of the crystal.
The exterior image of a human being and the diverse circumstances that surround him are the exact result of his interior image and of his psychological processes.
One of the things that's been really fun about my run on 'Swamp Thing' is putting him in all kinds of different locations around the world, and seeing how his exterior foliage changes based on his location.
As an actor, some of my favorite things to work on are night exterior scenes. Any time that we're on location and shooting at night, it's just magic. I got to do that so many times working on 'Vampire Diaries' that it filled my hat.
I think there's a terrible price to be paid when your exterior life is not an honest reflection of your interior life.
I really like the idea of being a bit unpredictable. I'm known for being a nice, easy-going person with a straightforward exterior. So I think a bit of me wants to be sort of sly and devious.
You see, deep down beneath my superficial and shallow exterior, I'm really very superficial and shallow.
as all women know, there are really no men at all. There are grown-up boys, and middle-aged boys, and elderly boys, and even sometimes very old boys. But the essential difference is simply exterior. Your man is always a boy.
Every photograph that is made whether by one who considers himself a professional, or by the tourist who points his snapshot camera and pushes a button, is a response to the exterior world, to something perceived outside himself by the person who operates the camera.
You cannot paint the exterior of your house. You have to take the paint chip down to show the paint-chip Nazis.
It is foolish to wish for beauty. Sensible people never either desire it for themselves or care about it in others. If the mind be but well cultivated, and the heart well disposed, no one ever cares for the exterior.
We've gotten caught up in thinking we are what we look like, the physical, the exterior. We think we're the lamp shade. We've forgotten that we are the light-the electricity and the luminosity that lights up every man, woman, and child. The light is who we truly are.
This is what has to be remembered about the law: Beneath that cold, harsh, impersonal exterior there beats a cold, harsh, impersonal heart.
Tis the old secret of the gods that they come in low disguises. 'Tis the vulgar great who come dizened with gold and jewels. Real kings hide away their crowns in their wardrobes, and affect a plain and poor exterior.
Our destiny is not mapped out for us by some exterior power; we map it out for ourselves. What we think and do in the present determines what shall happen to us in the future.
I don't follow any of what the pop world is doing. Sometimes I feel like that's a weakness, actually, that I'm too in my own bubble. But I'm really just interested in the inner journey. And pop is all about the exterior world, the material.
The exterior must be joined to the interior to obtain anything from God, that is to say, we must kneel, pray with the lips, and soon, in order that proud man, who would not submit himself to God, may be now subject to the creature.
The Eisenhower Building - the furniture is mismatched; everything is just bad decor and bad quality. Everybody's looking down at their Blackberry. It's a really frantic, mismatched environment. But on the exterior, it's this whitewashed, gorgeous building. It's a fascinating contrast.
At some point or another, our boundaries run into the boundaries of the exterior reality. Like we run into laws and other things that we don't own or don't have control over.
The pleasure that I take in writing gets me interested in writing a poem. It's not a statement about what I think anybody else should be doing. For me, it's an interesting tension between interior and exterior.
In its exterior relations - abroad - this government is the sole and exclusive representative of the united majesty, sovereignty, and power of the States, constituting this great and glorious Union. To the rest of the world, we are one. Neither State nor State government is known beyond our borders. Within, it is different.
Earthly riches are like the reed. Its roots are sunk in the swamp, and its exterior is fair to behold; but inside it is hollow. If a man leans on such a reed, it will snap off and pierce his soul.
I am going to design, in a great hurry, and I believe to build a station after my own fancy; that is, with engineering roofs, etc. etc. It is at Paddington, in cutting, and admitting of no exterior, all interior and all roofed in.
One of the joys about my job is that I've been able to constantly move and keep changing. The whole point of being an actor is you change your exterior everytime you do a new job and that's what keeps it exciting.
You see I'm a very personal man. I might have a very large exterior but I am basically quite a sober and simple man.
Our actual enemy is not any force exterior to ourselves, but our own crying weaknesses, our cowardice, our selfishness, our hypocrisy, our purblind sentimentalism.
Oh while I live, to be the ruler of life, not a slave, to meet life as a powerful conqueror, and nothing exterior to me will ever take command of me.
Good writing and dark wit always excite me and they come together thrillingly in this book. It has a quiet grip on the strangeness of the interior and exterior worlds of love and politics. I delighted in the writing and the scope.
It is the free alone which never changes, and the unchangeable alone which is free; for change is produced by something exterior to a thing, or within itself, which is more powerful than the surroundings.
An obvious fact about negative feelings is often overlooked. They are caused by us, not by exterior happenings. An outside event presents the challenge, but we react to it. So we must attend to the way we take things, not to the things themselves.
Who can tell whether the parallelogram, which in our ignorance we have defined and drawn, and the whole of whose properties we profess to know, may not be all the while panting for exterior angles, sympathetic with the interior, or sullenly repining at the fact that it cannot be inscribed in a circle?
The psychology of the alchemist is that of reveries trying to constitute themselves in experiments on the exterior world. A double vocabulary must be established between reverie and experiment. The exaltation of the names of substances is the preamble to experiments on the "exalted" substances.
Clothing and makeup and hair and all of that so much indicates the kind of person you are inside and the person you are presenting on the outside. Sometimes they are in conflict, and sometimes they are the same. That psychology of the exterior informing the interior is just so interesting.
Money shows [man] new ways to cheat life. Power becomes exterior instead of interior. In these circumstances architecture becomes too difficult, building too easy.
Life was tough for me. When I was a kid, nobody played with me because they thought I looked ugly with my extra thumb. It pained me. So once I thought of getting it surgically removed. But I didn't. Slowly, I realized that the exterior is not the criterion for love and success.
For a rapper as well-known as Drake, there remains an essential element of mystery about him. For one so open, there's a distance, and he prefers it that way. But then there's something beneath the exterior that reveals itself with urgency in conversation: Drake's raw ambition.
I live in New York, and I love New York as well, but I think Los Angeles is a place where if you have the right person with you, there are all these little worlds that you would never guess by just looking at the exterior of what the city is.
I'm not a big one on - I don't know what to call it - getting all glamorous. I don't really worry about my looks, and I don't worry about getting old. Exterior beauty doesn't mean a lot to me.
Beneath the seemingly rational exterior of our lives is a fear of insanity. We dare not question the values by which we live or rebel against the roles we play for fear of putting our sanity in doubt.
A tender beef roast with a well-browned exterior is about as easy to pair with wine as a dish can be. You have your pick of just about any medium- to full-bodied red wine, from any place.
The time has come to realise that an interpretation of the universe—even a positivist one—remains unsatisfying unless it covers the interior as well as the exterior of things; mind as well as matter. The true physics is that which will, one day, achieve the inclusion of man in his wholeness in a coherent picture of the world.
You are without needs. There is nothing that you need in order to be perfectly happy. You only think that there is. Your deepest, most perfect happiness will be found within, and once you find it, nothing exterior to your Self can match it, nor can anything destroy it.
They are imbeciles who call my work abstract. That which they call abstract is the most realistic, because what is real is not the exterior but the idea, the essence of things.
Life can be very funny and very tragic. Everyone has stuff that they've been through that makes up whatever fire it is that they have in their gut, but nobody goes around wearing that as their outmost exterior, all the time.
Some men are one thing on the surface and another underneath. The true poet shows not just the exterior of his subject, but all the contradictions within, and lets the reader draw his own conclusions.
Only those works which are well-written will pass to posterity: the amount of knowledge, the uniqueness of the facts, even the novelty of the discoveries are no guarantees of immortality ... These things are exterior to a man but style is the man himself.
By the virtue of modesty the devout person governs all his exterior acts. With good reason, then, does St. Paul recommend this virtue to all and declare how necessary it is and as if this were not enough he considers that this virtue should be obvious to all.
?ou're always in constant dialogue with your interior self versus your exterior self: how you look, and how you're perceived, and then people's preconceived notions of you.
Being a man repeller becomes a process of elimination. If a guy is only really into your outfit and won't date you because of what you're wearing, they are too driven by the female exterior and don't care about your intellect.
nothing is more common than to mistake the sign for the thing itself; nor is any practice more frequent than that of endeavoring to acquire the exterior mark, without once thinking to labor after the interior grace.
Vanity is a weakness. I know this. It's a shallow dependence on the exterior self, on how one looks instead of what one is. I know this well... Vanity and dishonesty may be vices, but they're also the first forms of protection I ever knew.
There is a moment when the interior light of the "eyes of faith" becomes one with the exterior light that shines from Christ, and this occurs because man's thirst, as he strives and seeks after God, is quenched as he finds repose in the revealed form of the Son.
The question between the materialists and me is not, whether things have a real existence out of the mind of this or that person, but whether they have an absolute existence, distinct from being perceived by God, and exterior to all minds.
It's only recently that we've discovered that the artist's inner self is somehow more important than the public world. I'm happier to create exterior pieces for the world rather than to express something I deeply feel or wish to say.
Like everything genuine, its inner life guarantees its truth. All works of art created by truthful minds without regard for the work's conventional exterior remain genuine for all times...
God looks at the heart, and we shouldn't judge by appearance . . . but we still live on the earth, and everyone here looks at the exterior, because only God sees the interior.
There exists no more repulsive and desolate creature in the world than the man who has evaded his genius and who now looks furtively to left and right, behind him and all about him. ... He is wholly exterior, without kernel, a tattered, painted bag of clothes.
No one finds it interesting to look at the person who is perfect all the time. They have no flaws. Flaws are what open us up to another person to show that we are not having a veneer, a fake sort of exterior.
Every time you see an interior, where somebody has a cockpit, is the real existing thing. Every time you see the exterior zooming by, it's completely CGI.
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