Top 1200 Lines Of Communication Quotes & Sayings - Page 6

All I know is it was very easy for us to write the Barb character and I think that, you know, Shannon Purser - who had never acted before - just did such a brilliant job realizing her. And, again, without very many lines - 25 lines. And I think everyone feels like either they knew this girl or they were this girl.

There is no thing as a man who does not create mathematics and yet is a fine mathematics teacher. Textbooks, course material-these do not approach in importance the communication of what mathematics is really about, of where it is going, and of where it currently stands with respect to the specific branch of it being taught. What really matters is the communication of the spirit of mathematics. It is a spirit that is active rather than contemplative-a spirit of disciplined search for adventures of the intellect. Only as adventurer can really tell of adventures.

When I did plays in high school and college, I never remember memorizing my lines, but once I had blocking, I had all my lines memorized. Once I had movement associated with words, it was fine. Before I had blocking, it was just text on a page. Once it became embodied, it was much easier.

Interestingly, a lot of the polling that I see is not along racial lines, but along generational lines. We are doing better and better among younger people, not so well among older people, whether they're African-American, whether they're white or whether they're Latino.

Everything move...you wonder how it all knows where to go. Einstein wondered how birds knew where to migrate to. He thought they might follow lines of light in the sky. He saw everything as lines of light. That's how he was built. So we don't know how he moved, either. Any more than the birds.

Your eye level is your reference point for drawing the perspective lines. All lines above your eye level will go down to the horizon vanishing point and all lines below your eye level will go up to the horizon vanishing point.

I have a new method of poetry. All you got to do is look over your notebooks... or lay down on a couch, and think of anything that comes into your head, especially the miseries. Then arrange in lines of two, three or four words each, don't bother about sentences, in sections of two, three or four lines each.

It is so important for us to have faith, trust, confidence in one another. It is the only way we can communicate. Without faith there is no communication, there is no love, or if there was a little love it will die without hope, trust, and confidence. Even if it doesn't die right away, it will be so ill, so weak, and so tired that communication will be miserable as well.

Obama came in and said he was going turn everything around, and you can't. Give the guy a break. But I question a lot of what's happening. It's certainly going to reflect in my vote, but who else is there? It's a horrible time, because people vote party lines instead of what's good for the country. I think the whole health care issue turned so ugly, because of party lines, and that's not what that's supposed to be about.

Funny bones, to me, are more important than funny lines. If a comedian is just not likable and doing the lines, you could read them yourself. Whereas if someone [you like] shambles out, and they tell you what a bad day they've had, they don't have to say anything. I love them. I want to hug them because they've been through something. And it comes back to empathy, always empathy.

You may write twenty lines one day--or even three like Euripides in three days--and a hundred lines in one more day--and yet on the hundred, may have been expended as much good work, as on the twenty and the three.

There's this exhausting energy from you getting your lines out and your words right, especially if it's a complicated scene. And as soon as the camera is off you and goes on the other person, you're talking garbled garbage and you feel so sorry for them because you've lost the will to live, after 18 hours of saying those lines. That's terribly unfair. So, I do love the quick-paced nature of it.

With the communication internet, whole industries have been disrupted. You're in the publishing industry, you understand that. Before, we had newspapers, magazines - now you're on the web. I'm in book publishing. I don't have to tell you what's happened to us. Television has taken a hit. The music industry. But, thousands of new businesses have emerged on this new communication revolution platform. Not just Google, Facebook, and Twitter. There are thousands of operations. Businesses that are doing the platforms, the apps. They're mining the big data. They're creating the connections.

"If I make deposits into an Emotional Bank Account with you through courtesy, kindness, honesty, and keeping my commitments to you, I build up a reserve. Your trust toward me becomes higher, and I can call upon that trust many times if I need to. I can even make mistakes and that trust level, that emotional reserve, will compensate for it. My communication may not be clear, but you'll get my meaning anyway. You won't make me "an offender for a word." When the trust account is high, communication is easy, instant, and effective."

I memorize my lines and I show up. I think it's just instinctual, and sometimes it's wrong and the director says, "No, do it this way." And then I can change, because I didn't spend all night practicing it this one way. All I do to get ready for the day is the night before, I read my lines once or twice, memorize them, and then I show up.

So we draw lines around our property, our counties, our cities, our states, our countries. And, boy, do we act as if those lines are important. I mean, we go to war. We will kill and die to protect those boundaries. Nature couldn't give two hoots about our national boundaries.

You can't work across party lines when there aren't many of them. So I'm going to work across Republican Party lines because there are a lot of divisions in the Republican Party.

Cut word lines — Cut music lines — Smash the control images — Smash the control machine — Burn the books — Kill the priests — Kill! Kill! Kill!

Working with Katherine Hepburn, she said to me, "Don't act." She said, "Read the lines. Just be. Just speak the lines." I said, "Okay." She said, "You look good. You got a good pair of shoulders, you got a good head, good face."

Each of these lines attempts to serve a portion of our population for which we extend our sympathy and encouragement. But nevertheless, it is only a small portion of South Carolina's chronically ill or abused. Overall, these special add-on lines distract from the agency's broader mission of protecting South Carolina's public health.

Draw lines - draw a lot of lines

Poetry is not the proper antithesis to prose, but to science. Poetry is opposed to science, and prose to meter. The proper and immediate object of science is the acquirement, or communication of truth; the proper and immediate object of poetry is the communication of immediate pleasure.

There are no straight lines or sharp corners in nature. Therefore, buildings must have no straight lines or sharp corners.

Traditionally poetry is written in lines. But the prose poem is the kind of poem that isn't written in lines. It is lyrical prose that uses the tricks of poetry, such as dense imagery. This is a big topic of debate in poetry land. There's no perfect definition.

The amount of interaction, the amount of understanding that exists in your generation among people of different races and different creeds and different colors is unprecedented. And by the way, that goes - that cuts across party lines, that cuts across partisan lines.

I write a lot, and very often I write a couple of lines that are particularly revealing in some kind of way. And then as a few more lines get added and a piece gets added, eventually the song pretty much takes over and you can't really find a way to change those things.

I started with the chorus of that song, kind of like a fun bouncy thing to play, and then one of the lines popped up: 'I got things to do today, people to see, things to say.' I wrote about a dozen verses for it, but no song needs to be that long unless you're Bob Dylan. So when we recorded it I started to tear it down to some of the lines I thought were the funniest.

People quote lines to me all the time. I'm always surprised - everybody has a favorite movie, and they're always different. I'm always shocked. People stop me on the street and throw lines at me from 'Tales from the Crypt: Demon Knight' and 'Deep Space Nine.' 'Shawshank' happens a lot because they play it so much on TV.

The classical theorists resemble Euclidean geometers in a non-Euclidean world who, discovering that in experience straight lines apparently parallel often meet, rebuke the lines for not keeping straight as the only remedy for the unfortunate collisions which are occurring. Yet, in truth, there is no remedy except to throw over the axiom of parallels and to work out a non-Euclidean geometry.

Since I started making films, I've been a nut for dialogue. When I first saw Star Wars when I was 12 years old, I came home and recited all of the lines from it. Before I talked about Death Stars exploding and Tie Fighters I was talking about how funny Princess Leia was and how sarcastic Han Solo was. So to me that's always the most important thing, and I love hearing great actors say great lines.

Add the hippie-rock-drugs atmosphere circa 1970, and you get Clinton's rechristened group Parliament, decked out in weird costumes, singing cosmic lyrics and laying down amazing funk lines - also lines of other kinds. One observer describes Maggot Brain ... one of those guys with super technique that took a lot of acid and just went out from there.

Effective communication is fascinating to me yet bad communication is just as fascinating. There are lessons to be learned from both. I can't say I am a natural communicator, it's taken a lot of work to be able to develop content relevant to the audience and deliver it with credibility. My initial natural ability tended to be more around the visual display of information. For years I was more comfortable visualizing other people's great thinking. I preferred to be hidden behind the curtain than a thinker myself.

Your work isn't just to learn and say the lines. Your work is to figure out what the chatter in your brain is, that's going on under the lines. It doesn't matter whether you're speaking or not speaking because your mind is working the way your character's mind would work.

The only thing I know that makes me feel comfortable is to know as much as I can. Not like what the shots are going to be, but knowing enough about my character that I can forget those things. And more specifically, my lines. I have to know my lines. I have to know something really well, so I can forget it when we're doing it. And there is comfort in knowing, "Okay, there's not another stone that I could have overturned."

In this respect a program is like a poem: you cannot write a poem without writing it. Yet people talk about programming as if it were a production process and measure "programmer productivity" in terms of "number of lines of code produced". In so doing they book that number on the wrong side of the ledger: we should always refer to "the number of lines of code spent".

Long-lived persons have one or two lines which extend through the whole hand; short-lived persons have two lines not extending through the whole hand.

Televisison is like a factory line. You need discipline and focus. You have to hit your mark and know your lines. It's not that I don't know my lines when I do a film, but the pace of discovery is always a little bit more relaxed and nurturing and almost babying, in a way. Television toughens you up, and I like that, but I don't want it to toughen me up too much.

My mother became a casting director, and she cast me in a soap opera called 'One Life to Live.' I was, like, 8 years old, playing a kid who had hurt himself on a skateboard. I had, like, three lines. I did the lines, and everybody in the studio applauded - I was immediately hooked after that. I was like, 'This is the life for me.'

Many people believe letters the most personal and revealing form of communication. In them, we expect to find the charmer at his nap, slumped, open-mouthed, profoundly himself without thought for appearances. Yet, this is not quite true. Letters are above all useful as a means of expressing the ideal self; and no other method of communication is quite so good for this purpose. In conversation, those uneasy eyes upon you, those lips ready with an emendation before you have begun to speak, are a powerful deterrent to unreality, even to hope.

Regular geometry, the geometry of Euclid, is concerned with shapes which are smooth, except perhaps for corners and lines, special lines which are singularities, but some shapes in nature are so complicated that they are equally complicated at the big scale and come closer and closer and they don't become any less complicated.

There must be some other possibility than death or lifelong penance, said the Ellen Ward of my dream, that woman I hate and fear. I am sure she meant some meeting, some intersection of lines; and some cowardly, hopeful geometer in my brain tells me it is the angle at which two lines prop each other up, the leaning together from the vertical which produces the false arch.

In seminary he had been taught that God had completely stopped any overt communication with moderns, preferring to have them only listen to and follow sacred Scripture, properly interpreted, of course. God's voice had been reduced to paper, and even that paper had to be moderated and deciphered by the proper authorities and intellects. It seemed that direct communication with God was something exclusively for the ancients and uncivilized, while educated Westerner's access to God was mediated and controlled by the intelligentsia. Nobody wanted God in a box, just in a book.

Communication requires cultural context, and technology facilitates our ability to cross-reference ideas over time. Charles Moore were saying: Enough with the sterile, context-less architecture. Enough with the functional-minded frame of operation. How about a little mess? How about a little, let's say, syntax? A little quotation using history? How about some other meanings or symbols? I think that's the only logical reaction when you have to thoughtfully manage the communication of a lot of information.

In New Mexico, my local church did a nativity play, and I was cast as Wise Man #3. Of course, Wise Man #3 had no damn lines. Wise Man #1 had all the lines! I stood there thinking, 'I could do that role so much better!' From that moment on, I knew I wanted to be an actor.

I am beginning to give revelation over ley lines and power lines over nations and continents. I am releasing angels to war along with you and bring revelation over power sources and strong men.

In books, you can just wallow in dialogue, and you can just wallow in written words. In screenplays, every line has to serve the purpose of the line that's implied before it and the line that's implied after it. Maybe five lines have to do the work of fifty lines.

The hours spent viewing TV are hours not available for actively participating in the real world, or playing, or being involved with friends and family. Watching television is an individual activity that tends to discourage interaction with others; as viewing time increases, family communication time decreases. As family communication decreases, people grow more distant from each other and may even forget how to carry on a good conversation.

What I like about music is the songs you can remember the lines of in a single second. The Beatles, The Rolling Stones... You can remember every line to their songs. But today, how often do you remember any of the lines to songs? I mean, I know that one of the Lily Allen's last albums is called It's Not Me, It's You. But I don't know how the songs go.

I don't kid myself in thinking that I'm on the front lines. I know the people who are on the front lines. I mean there are people in some freakin' significant places making on-the-ground social front line change. I've marched. I've put feet on the ground for what I believe and what I'm against with no compromise. And there are people who are risking a whole hell of a lot more than me to make change, that's for damn sure.

I like doing voiceover work. I just like it in general, because you're constantly working on a very first-instinct level. You show up, you get in front of the microphone, you look at the lines, you say the lines, and then you move on. You work on a really primal level, is what I'm saying. You don't have to shave. You don't even have to wear pants. But, uh, that wasn't your question.

There are air-quality issues that cross state lines. There are water-quality issues, obviously, that cross state lines.

Communication has changed so rapidly in the last 20 years, it's almost impossible to predict what might occur even in the next decade. E-mail, which now sends data hurtling across vast distances at the speed of light, has replaced primitive forms of communication such as smoke signals, which sent data hurtling across vast distances at the speed of light.

Did you know that there are no straight lines in the universe? Life doesn't travel in perfectly straight lines. It moves more like a winding river. More often than not, you can only see to the next bend, and only when you reach that next turn can you see more.

There was but one question he left unasked, and it vibrated between his lines: if gross miscalculations of a person's value could occur on a baseball field, before a live audience of thirty thousand, and a television audience of millions more, what did that say about the measurement of performance in other lines of work? If professional baseball players could be over- or under valued, who couldn't?

I remembered getting the script for the auditions [of Aladdin], I had asked someone there if improvs were allowed, and he said everyone is sticking to the script. I said to myself that they are either going to love me or hate me. I was crossing out lines and throwing in my own lines. I went into the room and started doing things. They were like, "This boy is nuts! We should keep him." That's how it all came about.

Everyone had coverage. You might have like three lines, but there were 10 people, so they would cover each person. Three lines could take 12 or 15 hours, but it was fun because everybody was together. As hard as it was to shoot those scenes, I always enjoyed when we were all together.

It was probably one of the things that gave me a sense of possibility and allowed for me to see beyond the small community that I existed within. You know, I was making friends with young Soviet kids. this is during perestroika. You know, there's bread lines and vodka lines. The entire social structure of what was then the Soviet Union was radically different from what we know today.

I like using LEGO bricks as a medium because I enjoy seeing people’s reaction to artwork created from something with which they are familiar. …My goal is to elevate this simple plaything to a place it has never been before. I also appreciate the cleanliness of the LEGO® brick. The right angles. The distinct lines. But, from a distance, those right angles and distinct lines offer new perspectives, changing to curves.

I would not be like those Authors, who forgive themselves some particular lines for the sake of a whole Poem, and vice versa a whole Poem for the sake of some particular lines. I believe no one qualification is so likely to make a good writer, as the power of rejecting his own thoughts.

Arthur Miller said one of my favorite lines ever, that he had the mother say to her two sons about a very unstable father in Death of a Salesman. She said, "Attention must be paid." It's one of the most resonant lines that I think he ever wrote, and I think attention must be paid to the truth.