Top 526 Versions Quotes & Sayings - Page 9

It had a language. It's a very emotional language that only exists in India, that part of [inaudible] so we wanted to use that. I had two versions - one with my voice and one with the girl's voice. But he preferred the girl's voice and he preferred my voice with an [inaudible].

The proliferation of support groups suggests to me that too many Americans are growing up in homes that do not contain a grandmother. A home without a grandmother is like an egg without salt.... The emotionally satisfying discussions that take place in Chronic Pain Outreach and Depression Resources are simply updated versions of the grandmotherly practice of hanging crepe. We could eliminate much of the isolation that support groups exist to fill and save the "traditional family" that everybody is so worried about if more couples took their aging parents to live with them.

Over the past 50 years we got versions of X-ray specs and space vacations, and even death rays. But the X-ray specs don't fit on your face - they're big things that screen your luggage for guns. Space vacations are real, but they cost $20 million. We have death rays, but you have to be a triple Ph.D. to play with them.

Once I had the voice, I knew I wasn't going to fall off the bicycle. I tap right back into it. It really was like learning how to ride a bike - you never forget, and I was able to carry it along with some ease. I never encountered any stumping problems that left me not knowing what to do, so I was mostly able to hold my ground. Of course, I should mention that it took me a long time to actually acquire the voice; there were a lot of frustrated attempts along the way, revisions to long sections and versions of the book that I abandoned.

Editors can be stupid at times. They just ignore that author's intention. I always try to read unabridged editions, so much is lost with cut versions of classic literature, even movies don't make sense when they are edited too much. I love the longueurs of a book even if they seem pointless because you can get a peek into the author's mind, a glimpse of their creative soul. I mean, how would people like it if editors came along and said to an artist, 'Whoops, you left just a tad too much space around that lily pad there, lets crop that a bit, shall we?'. Monet would be ripping his hair out.

Seances is an internet project where I intended to adapt at least a hundred and maybe three hundred lost films into ten and twenty minute long fragmentary versions. We then uploaded them to an internet archive that fragmented them even more. We treated them like shreds of lost movie spirits and allowed these spirits to interrupt each other in non-consecutive collisions that formed new movies.

Plato said that poets should be excluded from the ideal republic because they are such liars. I am a poet, and I affirm that this is true. About no subject are poets tempted to lie so much as about their own lives; I know one of them who has floated at least five versions of his autobiography, none of them true. I of course - being also a novelist - am a much more truthful person than that. But since poets lie, how can you believe me?

Basically, there were three aspects of dub that influenced dubstep. The most important was playing the instrumental versions of vocal garage tracks, which was a little like what dub was to reggae - the instrumental of a full vocal.The second was dub as a methodology, which, for me, is apparent in all dance music: manipulating sound to create impossible sonic spaces using reverb, echo and such. The third is the influence of the genre called dub. (It became a cliché actually, through sampling old Jamaican films and soundtracks, and adding vocal samples.)

And yet, within her anxiety, secured there like a gemstone, she carries the cool and curious power of occasionally being able to see the world vividly. Clarity bursts upon her a spray of little stars. She understands this, and thinks of it as one of the tricks of consciousness; there is something almost luxurious about it.. The narrative maze opens and permits her to pass through. She may be crowded out of her own life - she knows this for a fact and has always know it - but she possesses, as a compensatory gift, the startling ability to draft alternative versions.

It's more like I write multiple first drafts, handwritten. So with my first novel, I wrote whole drafts from different points of view. There are different versions of that novel in a drawer on loose-leaf sheets. I won't even look at the first draft while I'm writing the second, and I won't look at the second before writing the third.

I am not even an atheist so much as I am an antitheist; I not only maintain that all religions are versions of the same untruth, but I hold that the influence of churches, and the effect of religious belief is positively harmful. Reviewing the false claims of religion, I do not wish, as some sentimental materialists affect to wish, that they were true. I do not envy believers their faith. I am relieved to think that the whole story is a sinister fairy tale; life would be miserable if what the faithful affirmed was actually the case.

There are a few versions of the Alexander movie on video, only two that matter. One is from 2007, and then the one from 2014. It's called "the Ultimate Cut." That is the best version in my opinion. I was unsatisfied with the original theatrical release. It was rushed. It was my fault. I accepted it. I always felt it should have been done the way Tarantino did Kill Bill. I thought, we should release this in two parts with an intermission. But at that time, in 2004, it was impossible.

It's the pool where we all go down to drink, to swim, to catch a little fish from the edge of the shore; it's also the pool where some hardy souls go out in their flimsy wooden boats after the big ones. It is the pool of life, the cup of imagination, and she has an idea that different people see different versions of it, but with two things ever in common: it's always about a mile deep in the Fairy Forest, and it's always sad. Because imagination isn't the only thing this place is about.

I was taught that candles are like house cats - domesticated versions of something wild and dangerous. There's no way to know how much of that killer instinct lurks in the darkness. I used to think the house-burning paranoia was the result of some upper-middle-class fear regarding the potential destruction of a half-million-dollar Westchester house the size of a matchbox. But then I realized the fear stemmed from something far less complex: we're not used to fire. Candles are a staple of the Judaic existence and, like many suburban residents before us, we're pretty bad Jews.

Most of us can't help but live as though we've got two lives to live, one is the mockup, the other the finished version, and then there are all those versions in between. But there's only one, and before you know it, your heart is worn out, and, as for your body, there comes a point when no one looks at it, much less wants to come near it. Right now there's sorrow. I don't envy the pain. But I envy you the pain. (p. 225)

I have become a giant fan of the testing process, especially with a comedy. I mean, they tell you what's funny. It's almost tailor-made for people who shoot the way we shoot, trying a million different options and versions of things. Because the audience doesn't laugh at a joke, we put in another joke. If they don't laugh at the next joke, we put in another joke. You just keep doing them and you can get the movie to the point where every joke is funny, if you have enough options in the can.

Certainly I'm participating in an already established and awesome tradition, but it's a tradition that sort of shoots up and through the mainstream in short bursts and pulses and then gets diluted. Walt Whitman and Emily Dickinson shot up and then got sucked back down underground under more entertaining and less radical versions of body and self - poetry and prose that posited bodies in more perfect union with good citizenship.

It's funny what [producer Richard Zanuck said about even though you can't quite place when the book or the story came into your life, and I do vaguely remember roughly five years old reading versions of Alice in Wonderland, but the thing is the characters. You always know the characters. Everyone knows the characters and they're very well-defined characters, which I always thought was fascinating. Most people who haven't read the book definitely know the characters and reference them.

As Americans, we have a long history with firearms. We also have a government built on compromise, so here is the compromise I propose: Ban assault rifles and handguns for everyone except police and military personnel. These weapons are made to kill humans and should be strictly limited. At the same time, allow responsible citizens to own rifles and shotguns. Rifles are for hunting big-game animals, shotguns are for hunting birds; non-automatic versions of these weapons should be available for those with an interest in hunting or target shooting.

What the Latins have done in this text (1 John v, 7) the Greeks have done to Paul (1 Tim. iii, 16). They now read, "Great is the mystery of godliness; God manifest in the flesh"; whereas all the churches for the first four or five hundred years, and the authors of all the ancient versions, Jerome as well as the rest, read, "Great is the mystery of godliness, which was manifest in the flesh." Our English version makes it yet a little stronger. It reads, "Great is the mystery of godliness: God was manifest in the flesh."

We do not realize how deeply our starting assumptions affect the way we go about looking for and interpreting the data we collect. We should recognize that nonhuman organisms need not meet every new definition of human language, tool use, mind, or consciousness in order to have versions of their own that are worthy of serious study. We have set ourselves too much apart, grasping for definitions that will distinguish man from all other life on the planet. We must rejoin the great stream of life from whence we arose and strive to see within it the seeds of all we are and all we may become.

There was always this sort of weird process in the development and pre-production, thinking, 'How do we get the studio tracks that Joy Division recorded that are so clean and pristine but sound rough and live and how do we get the live versions to actually sound clear enough so you can make out what they're saying?' That was sort of the frustration with Anton Corbijn and myself, figuring out how we make that work.

Winston worked in the RECORDS DEPARTMENT (a single branch of the Ministry of Truth) editing and writing for The Times. He dictated into a machine called a Speakwrite. Winston would receive articles or news-items which for one reason or another it was thought necessary to alter, or, in Newspeak, rectify. If, for example, the Ministry of Plenty forecast a surplus, and in reality the result was grossly less, Winston's job was to change previous versions so the old version would agree with the new one.

There's always going to be one more thing. Because that's what infinite feels like. And the difference between love and everything else is that it's infinite, it's built out of something infinite, or it feels like it is, anyway, which is the same thing to us. You think a million billion more things will come your way, a million billion more versions of everything. But no, everything that actually causes that infinite feeling, the circumstances of every infinite feeling, is so, so finite.

I think I gave indications early on that mine wasn't just going to be a commercial, er, career. If that were the case, then the first record would have been 10 versions of 'Loser.' I always thought it would be interesting if there was no such thing as gold and platinum records, or record deals, and people were just making music. What would the music sound like?

A man who tells secrets or stories must think of who is hearing or reading, for a story has as many versions as it has readers. Everyone takes what he wants or can from it and thus changes it to his measure. Some pick out parts and reject the rest, some strain the story through their mesh of prejudice, some paint it with their own delight. A story must have some points of contact with the reader to make him feel at home in it. Only then can he accept wonders.

The classical argument for why a supposedly decent and moral creature like Homo sapiens can mistreat and even extirpate other species rests upon an extreme position in a continuum. The Cartesian tradition, formulated explicitly in the seventeenth century, but developed in "folk" and other versions throughout human history no doubt, holds that other animals are little more than unfeeling machines, with only humans enjoying "consciousness," however defined.

Traditionally, digital projects, when you project them, they get really washed out. It's complicated stuff with gamma, but basically your blacks get very milky and the colors get very weak, and we made so many different versions of it to just pump more color into it, so it would look just as good in the theater as it does on your screen at home. And color was my constant whine. It needed to be very oversaturated.

You know all that sympathy that you feel for an abused child who suffers without a good mom or dad to love and care for them? Well, they don't stay children forever. No one magically becomes an adult the day they turn eighteen. Some people grow up sooner, many grow up later. Some never really do. But just remember that some people in this world are older versions of those same kids we cry for.

Better known as the Secret of the Golden Flower, this is a famous neidan text that the Western world came to know through Richard Wilhelm's 1929 translation. The Chinese text used by Wilhelm was edited by Zhanran Huizhen zi in 1921. Besides this, at least five more versions are available, all of which date to the late Qing dynasty (1644-1911) and are ascribed to Lu Dongbin, who revealed them through spirit writing.

The world was created because God willed it, but why did He will it? Judaism has maintained, in all of its versions, that this world is the arena that God created for man, half beast and half angel; to prove that he could be a moral being...man was given dominion over nature, but he was commanded to behave towards the rest of creation with justice and compassion. Man lives, always, in tension between his power and the limits set by his conscience.

For many of us, it's too difficult to jump in to vegan full on because it's just so different than the way we grew up eating. But if we take small steps - like replacing cow's milk with almond or soy milk, or using veggie sausage instead of sausage made from animals - we can keep enjoying the things we grew up loving, just better versions of them.

Part of what makes a language 'alive' is its constant evolution. I would hate to think Britain would ever emulate France, where they actually have a learned faculty whose job it is to attempt to prevent the incursion of foreign words into the language. I love editing Harry with Arthur Levine, my American editor-the differences between 'British English' (of which there must be at least 200 versions) and 'American English' (ditto!) are a source of constant interest and amusement to me.

There are three versions of the hook. There's one that's solid metal and it's really heavy. It's sharp. It's not super sharp but it has a point, and because of the weight you could do some serious damage with it. And then there's an aluminium one which is a bit lighter, and then there's a rubber one for if you're to do stunts or there's any danger of cutting someone. Although sometimes I like to switch it out! It's the perfect coffee cup holder - it's literally the exact size. And if you've only got one hand and you're holding some food, it's great to put it on.

We had Bob's [Gordon] records, and he's on Clifford Brown's first record as a leader. I believe it was Clifford Brown's first record as a leader and had the original versions of Daahoud and Joy Spring that were arranged by Bob's best friend, the West Coast tenor player named Jack Montrose, who I later met.

I first read Freud's famous case study on hysteria based on his client Ida Bauer when I was in my twenties. It pissed me off so badly it haunted me for 25 years. But I had to wait to be a good enough writer to give Ida her voice back. And I had to go get my own first too. I not only know the case study inside and out, like most women, I lived a version of it. Maybe it's time for us to tell our versions.

I don't believe there's anything cosmic or divine or morally superior about whales and dolphins or sharks or trees, but I do think that everything that lives is holy and somehow integrated; and on cloudy days I suspect that these extraordinary phenomena, and the hundreds of tiny, modest versions no one hears about, are an ocean, an earth, a Creator, something shaking us by the collar, demanding our attention, our fear, our vigilance, our respect, our help.

For our family, the entire structure of our life, our home, our business relationships - the entire purpose is for everyone to be able to create in a way that makes them happy. Fame is almost an inconsequential by-product of what we're really trying to accomplish. We are trying to put great things into the world, we're trying to have fun, and we're trying to become the greatest versions of ourselves in the process of doing things we love.

I do think we are seeing the definition of what is a carrier changing. You can turn America-class amphibious assault ships into smaller, less expensive versions of carriers. You can equip surface ships like destroyers as well as submarines with not just missiles and torpedoes but drones than can do roles traditionally performed by carrier aircraft, like surveillance or even strike, such as finding and taking out opponents' missile batteries.

I'd seen Elijah [Wood], when I was a little boy, in The Good Son. And then, I was a huge fan of The Lord of the Rings. It took awhile to get over that whole, "That's Elijah Wood - Frodo, from The Lord of the Rings." I was a mega fan of that. I went to the all-day screenings of the director's cut, where you could see the really long versions of all three movies, in one day.

Indian forms of yoga have spread throughout the world due to their objectives of promoting health and harmony. Japan is but one of many countries that have received these age-old teachings. While Indian yogic disciplines (Hatha yoga in particular) have become well known, not everyone realizes that certain distinctive Japanese versions of Indian spiritual paths have evolved. Perhaps the first of these unique methodologies is the art of Shin-shin-toitsu-do, which was developed by Nakamura Tempu Sensei (1876-1968). In fact, Nakamura Sensei is often considered to be the father of yoga in Japan.

I could have a sex change and become a woman, physically. But in some ways that isn't even necessary. Because we live in a time when real life, and virtual life are at parity. We are so used to being creators, and creating versions of ourselves, mainly online, and through our communication technology, that I could very well picture myself as a woman, and consider myself a woman, even if my body would be classified as a male body by a medical examiner.

Laissez-faire capitalism, or anarchocapitalism, is simply the economic form of the libertarian ethic. Laissez-faire capitalism encompasses the notion that men should exchange goods and services, without regulation, solely on the basis of value for value. It recognizes charity and communal enterprises as voluntary versions of this same ethic. Such a system would be straight barter, except for the widely felt need for a division of labor in which men, voluntarily, accept value tokens such as cash and credit. Economically, this system is anarchy, and proudly so.

You travel the world, you go see different things. I like to see Shakespeare plays, so I'll go - I mean, even if it's in a different language. I don't care, I just like Shakespeare, you know. I've seen Othello and Hamlet and Merchant of Venice over the years, and some versions are better than others. Way better. It's like hearing a bad version of a song. But then somewhere else, somebody has a great version.

More platform-sensitive generations will make distinctions between online and in-person intimacy, whereas fourteen-year-olds have very nuanced online selves and might embody their virtual identity in the physical, analogue version of themselves. They have a much more pluralistic understanding of the self. I don't think we'd be here now in this amazing sexual and gender revolution without the online space where young people can see and share other versions of identity and sexuality.

It's impossible to say that live art enjoys any single status in the information age--there are versions of live art that are still primarily art-world phenomena, others that appeal to much broader audiences. The Burning Man festival is a case in point--an event featuring performance that is itself a performance, which partakes simultaneously of frontier mythology, a counter-cultural impulse, and popular cultural visibility.