Top 629 One-Dimensional Quotes & Sayings - Page 8

Extra dimensional theories are sometimes considered science fiction with equations. I think that's a wrong attitude. I think extra dimensions are with us, they are with us to stay, and they entered physics a long time ago. They are not going to go away.

There is nothing like being able to develop a three-dimensional character over a long period of time. Sometimes you aren't able to fully portray a character because you only have a couple of scenes to do it in, and you don't get the full life and background of that character.

An album is a whole universe, and the recording studio is a three-dimensional kind of art space that I can fill with sound. Just as the album art and videos are ways of adding more dimensions to the words and music. I like to be involved in all of it because it's all of a piece.

In 'Road,' my character is linear and uni-dimensional. It was more of a reacting character. I am a foil to the other characters in the film. It is the most normal character in the most abnormal, extraordinary film.

My experience of being on the public platform got more multi-faceted, multi-dimensional, and my place in the public eye, I think, has always been a little more than just what is going on in that time in my life.

I wanted to work with Barry [ Jenkins]. I am a big fan of his from Medicine for Melancholy years ago. Tarrell [Alvin McCraney] is my favorite playwright. I will do anything he asks. The characters were so clearly drawn and three dimensional. It was an easy thing to say yes to.

Obviously, once you're finished, you're like, "Okay, I have to make this a movie now, and I need people - bodies to play these parts, and actors to bring this thing beyond a script." But when I was writing it, I wasn't thinking of actors; I was really thinking about creating three-dimensional characters.

In string theory, all particles are vibrations on a tiny rubber band; physics is the harmonies on the string; chemistry is the melodies we play on vibrating strings; the universe is a symphony of strings, and the "Mind of God" is cosmic music resonating in 11 dimensional hyperspace.

A science of all these possible kinds of space [the higher dimensional ones] would undoubtedly be the highest enterprise which a finite understanding could undertake in the field of geometry... If it is possible that there could be regions with other dimensions, it is very likely that God has somewhere brought them into being.

The range of genre that we is very diverse, which makes for a fun and multi-dimensional show, but creating something that flows, depending on what kind of vibe the show is going to be [loud dive bar, small theatre, festival] is a bit of an art a haphazard art at times.

I've been lucky enough to play roles that are not just the preppy cheerleader or sullen emo girl. I've been able to play roles that are really vast and varied and very three-dimensional. Fingers crossed that it remains the same.

In string theory, all particles are vibrations on a tiny rubber band; physics is the harmonies on the string; chemistry is the melodies we play on vibrating strings; the universe is a symphony of strings, and the 'Mind of God' is cosmic music resonating in 11-dimensional hyperspace.

For Christmas, 1939, a girl friend gave me a book token which I used to buy Linus Pauling's recently published Nature of the Chemical Bond. His book transformed the chemical flatland of my earlier textbooks into a world of three-dimensional structures.

'I Am Number Four' definitely borrows from a whole bunch of genres and has a whole bunch of different themes throughout. And I think if it was just one stale two-dimensional thing then it would be kind of boring. And I think they did a fantastic job.

I suppose I look for humor in most situations because it humanizes things; it makes a character much more three-dimensional if there's some kind of humor. Not necessarily laugh-out-loud type of stuff, just a sense that there is a humorous edge to things. I do like that.

The meaning of life changes as you change dimensional planes. The way human beings perceive the world is only one simple method of seeing. There are many ways to see life. Life has many meanings, and self realization is the understanding of all this.

Digital might capture the dynamics of what I heard before it went to tape a bit more accurately, but on the other hand, when we'd switch from listening to the digital version to the analog, the change was so profound - the music would suddenly go three-dimensional, and it felt much more engaging.

A photograph is what it appears to be. Already far from 'reality' because of its silence, lack of movement, two-dimensional ity and isolation from everything outside the rectangle, it can create another reality, an emotion that did not exist in the 'true' situation. It's the tension between these two realities that lends it strength.

War reporters are often seen as a wild bunch of thrill-seekers who wade into danger zones simply for the sake of the adrenalin high the settings inevitably provide. But this one-dimensional explanation leaves out the core of the story, which is that reporters go to these places because they feel the tug of responsibility.

A single, one-dimensional way of thinking has created a monoculture of the mind. And the monoculture of the mind has become a self-fulfilling prophecy. This is the root of why we have pitted equity against ecology and sustainability against justice.

I think we live in an industrial dimensional reality where we're programmed to believe what we're told. We're programmed to believe them. We're programmed to believe what that ruling class wants us to believe.

Atlantis was a highly evolved civilization where the sciences and arts were far more advanced than one might guess. Atlantis was technologically advanced in genetic engineering, computer science, inter-dimensional physics, and artistically developed with electronic music and crystal art forms.

I think the gender norms of emotion are horrendous. Being masculine means showing zero emotions, but having the choice to be angry or depressed. Being female means you are one dimensional - if you show more than that, you are a psycho, hysterical, or historically, a witch.

I never worried about becoming typecast. People have said that to me, but I never worried about it. As long as the part is three dimensional, I'm okay with it, whether the role is to play the heavy, the cop.

Psychedelics are not flashlights into the chaos of the Freudian unconscious, they are tools for mathematically unpacking your mind into a higher dimensional space. In the Newtonian and print created space that we are walking around in you, are like a self extracting archive, that hasn't self extracted itself yet.

No matter how many great performances or exciting visuals we put together for the movie, we found that it was all somewhat two dimensional until we added the emotional heart of Howard Shore's music. Then, and only then, did the film come to life.

The word 'supportive' has no place in stand-up comedy. I hate when people are like, 'Support female comedy.' That's not a real genre of comedy. I think if you have true respect for women as three-dimensional creators who are innovative, you wouldn't group them together like that.

To me, most filmmaking is a kind of visualization of how people are. The dark, the light, the absurdity of life, all the crazy things, you know? So all of the characters that I've made have been really close to my heart. I guess what I'm interested in is just visualizing a really three-dimensional picture of a person.

Comparing Oceanic art generally with Negro art, it has a livelier, thin flicker, but much of it is more two-dimensional and concerned with pattern making. Yet the carvings of New Ireland have, besides their vicious kind of vitality, a unique spatial sense, a bird-in-a-cage form.

Our civilization represses not only "the instincts", not only sexuality, but any form of transcendence. Among one-dimensional men, it is not surprising that someone with an insistent experience of other dimensions, that he cannot entirely deny or forget, will run the risk either of being destroyed by the others, or of betraying what he knows.

Nobody aspires to be a backup. And although I take great pride in the supporting roles I've played in both Philadelphia and Kansas City, part of me still cringes every time I hear myself described that way. Not only is it limiting and one-dimensional, it doesn't come close to describing who I really am.

Before I accept a job, I always talk to folks about it. Why does he kill these 22 people? If they say, What difference does it make? I know we have nothing more to talk about. A character has to be three-dimensional.

In the beginning, I was always playing some kind of gangbanger and the token Mexican dude who didn't have a lot of lines but was in the entire movie. At the same time, everyone gets typecast, and I decided that if I was going to play a stereotypical role, I was going to play it like a three-dimensional character.

Just look at the cinema itself: It's comprised of lots of movies about graphic novels, and if you're not 20 years old and wearing a cape and a mask and white, you're out of business. Today's cinema is a proliferation of comedies, which are in some ways creating caricature images. They're one-dimensional.

Before I accept a job, I always talk to folks about it. 'Why does he kill these 22 people?' If they say, 'What difference does it make?' I know we have nothing more to talk about. A character has to be three-dimensional.

Like I'm dragging bundles of old clothes? I'm carrying artifacts that breathe fire. I'm talking about a language of smoke. These are three-dimensional creatures that can mate. I'd no more leave them go by the side of the trail than I would my child. I'll carry them until someone amputates my arms.

The ontological concept of truth is in the centre of a logic which may serve as a model of pre- technological rationality. It is the rationality of a two-dimensional universe of discourse which, contrasts with the of thought and behavior that develop in the execution of the technological project.

OK, so we all know that 'Borat' is humiliatingly, career-endingly unfunny (one trick too many for one-trick pony Sacha Double-Barelled) - but can anyone explain why the 'character' isn't roundly condemned for being as unacceptably racist as the one-dimensional stereotypes from 70s sitcoms such as 'Mind Your Language?'

The layering of sound is by no means a two-dimensional process. Even though I've been doing it for a number of years, the diversity of it is so intriguing. It's a bit like traveling across the water. Though you may have done it time and time again it always hits you in a different way.

All around us right now, tucked into the valleys and along the coasts, bookshops glow in the winter light. Think of them like singular, magical, and multi-dimensional recipe boxes. They wait for us to pluck out a card, to stand over the stove, to start cooking.

I Am Number Four' definitely borrows from a whole bunch of genres and has a whole bunch of different themes throughout. And I think if it was just one stale two-dimensional thing then it would be kind of boring. And I think they did a fantastic job.

I've got a real sense of three-dimensional geometry. I can look at a flat piece of fabric and know that if I put a slit in it and make some fabric travel around a square, then when you lift it up it will drape in a certain way, and I can feel how that will happen.

I've been wanting for a long time to create a show which allowed me to show the British Asian community in a truly three-dimensional way, exploring the relationships between generations and what it means to be British and Asian as values become fluid.

I remember a picture on the front page of the 'Sun' during the Brixton riots: a rasta guy with a petrol bomb, and a headline saying something like: 'The Future of Britain.' And I thought: 'Wow! Look at the power of that image,' and I wanted to get behind the camera to make these people three-dimensional.

It's certainly more interesting for me as an actor, but I think it's also more interesting for the audience to see three-dimensional characters, rather than just a bad guy or a good guy.

Karma exists within causality. It is three-dimensional. Free will exists outside of causality; it is not bound by karma.

I think that, when you play a mother, whether you play a bad mother or a not so great mother or an amazing mother, being a mother is already so complicated. It's already three-dimensional, automatically, no matter what the role is, because you're playing a mother.

Our nano-quadrotor robots are made to be as lightweight as possible: less than a fifth of a pound and palm-sized. They can do an aerial backflip in half a second, accelerate at two Gs, and fly rotor blade to rotor blade in three-dimensional formations - and they do all this autonomously.

There is a vortex of energy at the bottom of Walden Pond. That's where the inter-dimensional opening is. As people swim in Old Walden Pond, it soothes them, it renews them. It's a little bit like the pool in Cocoon - I suppose, any power spot is.

This is a corny actor thing to say, but the first step is that you can't judge the character that you're playing. If it's built in three-dimensional fashion, you'll just play a character who's going out and seeking the best version of their life that they can find. That gives the character an accessibility that everyone can identify with.

I'm all about real drama, real performance, and real people, so my twist on this is: I'm creating a family, a brotherhood here. I'm creating a very real chemistry and I have this incredible ensemble of actors led by Will Smith, who are basically playing dimensional characters with lives and souls.

I did this movie right after it about the life of Chet Baker. It's called Born to Be Blue. In that situation, there's a real clear character you're drawing on. It's a real person. It's really exciting and interesting to do the research to figure out how to make that a nuanced, three-dimensional human being.

For my father, life was uni-dimensional. Reliance was his life. Yet, some of my most vivid memories are about spending time with him. However busy he may have been, whatever the pressure, Sunday was for his wife and kids. I try to do the same with my family.

There will be a wealth of facts revealed and revisited in [Underground] pertaining to Harriet Tubman. That is a huge part of my excitement, the fact that this generation will get such a beautifully-detailed introduction to a hero and icon that has largely lived in a few pages of our history books and in one-dimensional photographs.

Why is there space rather than no space? Why is space three-dimensional? Why is space big? We have a lot of room to move around in. How come it's not tiny? We have no consensus about these things. We're still exploring them.

It [Moonlight movie] deals with drug addiction, drug dealing, and single parenthood, but they are three dimensional characters. You understand where they are from and what they are trying to do with their lives. It is not a stereotype that has been pasted onto somebody. These are stories that come from Barry's [ Jenkins] and Tarell's [Alvin McCraney] mothers.

People are now layering all kinds of different things together. Eighteenth century, 19th century, rustic, modern. Three dimensional printed pieces, very high end technological pieces, but mixed with local artisan stuff.

I always felt like Azula and Long Feng were much more interesting villains and three-dimensional characters than Ozai, who was just sort of a big jerk. Like a really big jerk, but not very complex or human.

Presidents and presidential assassins are like Las Vegas and Salt Lake City. Even though one city is all about sin and the other is all about salvation, they are identical, one-dimensional company towns built up by the sheer will of true believers.

Jason Katims creates truly relatable three-dimensional people you fall in love with right away. Jason always puts a lot of heart into what he does. He has a way of touching your emotional core in a life-affirming way. And he's a great show runner.