Top 1200 Written Language Quotes & Sayings - Page 18

When script is written well, then you start to make decisions of, "Well, do I want to be away from home for that long? Do I like the people involved?" When it's written well, a lot of those things go away and you can't not do it.

I look at a film as just a film; language doesn't really matter. I just don't want to limit myself to a particular language, genre or medium.

I so want to be able to speak another language. I love the way my friends who are half Italian and half English break from one language into another without even pausing.

Language is a more recent technology. Your body language, your eyes, your energy will come through to your audience before you even start speaking.

Neither can embellishments of language be found without arrangement and expression of thoughts, nor can thoughts be made to shine without the light of language.

It is still not enough for language to have clarity and content... it must also have a goal and an imperative. Otherwise from language we descend to chatter, from chatter to babble and from babble to confusion.

Spoken language clearly differentiates Homo sapiens from all other creatures. None but humankind produces a complex spoken language, a medium for communication and a medium for introspective reflection.

There's a tremendous amount of language loss. Most of the attention is given to indigenous languages, which makes sense, but some of the most dramatic language loss is in Europe.

Although the Irish language is connected with the many recollections that twine around the hearts of Irishmen, yet the superior utility of the English tongue, as the medium of all modern communication, is so great that I can witness without a sigh the gradual decline of the Irish language.

Colour is uncontainable. It effortlessly reveals the limits of language and evades our best attempts to impose a rational order on it To work with colour is to become acutely aware of the insufficiency of language and theory – which is both disturbing and pleasurable.

The functional language is a radically anti-historical language: operational rationality has little room and little use for historical reason.

The psychology of a language which, in one way or another, is imposed upon one because of factors beyond one's control, is very different from the psychology of a language which one accepts of one's free will.

My brother and I had many games. We were inseparable. We had a little team going on between us. We had even a language that was kind of like pig latin. So we'd speak in the language. It's called Op.

I will just take the chance that the language will still be relevant in 100 years, which is something we cannot take for granted with a language that is spoken by 330,000 people.

English is the language of a people ho have probably earned their reputation for perfidy and hypocrisy because their language itself is so flexible, so often light-headed with with statements which appear to mean one thing one year and quite a different thing the next.

I don't have any phobias with any language, and I've grown up listening to Anglo-American rock n roll as well as Welsh-language punk rock and I'm all for sharing languages.

As vocabulary is reduced , so are the number of feelings you can express, the number of events you can describe, the number of the things you can identify! Not only understanding is limited, but also experience. Man grows by language. Whenever he limits language he retrogresses!

It's unfortunate that a certain type of stripped-down classicism became the in-house architectural language for 20th-century fascism. Can an architectural language recover from such an association? Yes, I think it can, because in the end what you're talking about is a column and beam.

I think, for some children, your skills don't lie in written words. A lot of school is based around written words and how good you are at spelling or reading. From a young age, if you're told you can't spell or read very well, you're made to feel a bit stupid.

We assume, to begin with, that the individual is at least as complex in his internal structure as the language is which he speaks - otherwise, how could he speak a language which is complex?

To possess another language, Charlemagne tells us, is to possess another soul. German is such a language. Once you have it in your head, you can go there anytime, you can close the door, you have a refuge.

The first drafts of my novels have all been written in longhand, and then I type them up on my old electric. I have resisted getting a computer because I distrust the whole PC thing. I don't think a great book has yet been written on computer.

A book is not an example of 'women's writing' simply because it is written by a woman. Writing may become 'women's writing' when it could not have been written by a man.

I studied French in high school and German in college and I once took a 24-hour Italian crash course. English has by far the most words in it of any other language. Our money might not be worth anything anymore, but the language is.

The first song I remember listening to in a language other than German was 'Goldfinger,' by Shirley Bassey. I was seven years old at the time and I had no idea which language it was or who the lady was singing it, but it touched me and I realised that it was the sort of music I liked.

Poems' deep work is a matter of language, but also a matter of life. One part of that work is to draw into our awareness and into language itself the unobvious and the unexpected.

'Minari' was only eligible for the best foreign language film category due to the HFPA rules on language, so the film was submitted to meet these rules; there was no choice involved in the matter.

When a film is created, it is created in a language, which is not only about words, but also the way that very language encodes our perception of the world, our understanding of it.

Hip hop is at its essence a folk music, because it speaks the language that people are still speaking at ground zero, it speaks the language that people speak on the streets.

I definitely want to produce more because I have a bunch of projects that I've either written or half written and I want to continue developing them and if cant direct one right away cause I'm doing something else I will love to still see it get made.

Honestly if I had the time, I would love to learn every language in the world. I love connecting to people. If I can't do it through language, I will try to do it through my music.

If you learn the language of loss early, I think you seek out others who have experienced the same thing, who speak that same language of loss.

I am very aware that playwrights, particularly good ones, have a intention for everything they write. Language and punctuation is used specifically, and most of the time actors can find wonderful clues about character in the rhythm and cadence of the language used.

Then I speak to her in a language she has never heard, I speak to her in Spanish, in the tongue of the long, crepuscular verses of Díaz Casanueva; in that language in which Joaquín Edwards preaches nationalism. My discourse is profound; I speak with eloquence and seduction; my words, more than from me, issue from the warm nights, from the many solitary nights on the Red Sea, and when the tiny dancer puts her arm around my neck, I understand that she understands. Magnificent language!

Applause is interesting, but I'm a monster with or without it. Something is either well written or it isn't. 'White Rabbit' is not well written, and no amount of applause or royalties can convince me it is. I could have done a better job with those lyrics. They didn't say what I wanted.

I was born in the era of the novel. I've written many, as well as collections of poetry, and essays for mouthing off. I've written to inches, word-counts, page-counts, even the sonnet and the screenplay (which I call a plot poem). I write narrative. That's it. I just want to tell it.

Babies and language are the essential ingredients of civilization, and speakers of language no more know where it came from than babies know where they come from.

Morality, like language, is an invented structure for conserving and communicating order. And morality is learned, like language, by mimicking and remembering.

Keep in mind that a language is both a map of the world and its own world, with its own shadowlands and crevasses - places where statements that seem to obey all the language's rules are nevertheless impossible to deal with.

The writer's language is to some degree the product of his own action; he is both the historian and the agent of his own language.

Scientists in different disciplines don't speak the same language. They publish in different journals. It's like the United Nations: You come together, but no one speaks the same language, so you need some translators.

A scientist with a poet's command of language, Cristina Eisenberg writes with precision and passion . . . takes her reader on a breathtaking, sometimes heartbreaking tour of the planet from the Gulf of Maine to the Amazonian rain forests, the tropical coral reefs to old growth forests of the Northwest as well as rivers, lakes, and wetlands. I found the wealth of information not only accessible but riveting . . . Eisenberg's powerful, beautifully written book . . . has the potential to open many people's eyes, minds, and hearts.

People use location as a language in films, and Quentin uses action as a language in his films. There's really not a lot of violence. It's more of an emotional beat than it is a physical beat.

There may be no more-radioactive term in the English language than what we now almost always refer to as the 'n-word' - itself a coy means of linguistic sidestepping that is a sign of how perilous it is to utter the thing in full, even in conversations about language.

It is as though the ancestors who made language and knew from what bestiality its use rescued them are saying to us: Beware of interfering with its purpose! For when language is seriously interfered with, when it is disjoined from truth, be it from mere incompetence or worse, from malice, horrors can descend again on mankind.

I make the case in the book that Standard English, that language we all aspire to live and move and have our being within, is actually based on a fiction. It's not anyone's native way of speaking or writing. That's why we have to take classes in it. Language is just really squishy.

Computing lets people express their creativity and unlock solutions, and code is computing's universal language. All young people, including girls, deserve to be fluent in the language of the future.

In the UK, most of the nasheeds that I did were in my native language, Urdu. Youngsters who could not understand the language came up to me... [and] said it was a great experience to just listen. That was actually very heart warming for me.

People use location as a language in films, and Quentin uses action as a language in his films. There's really not a lot of violence. It's more of an emotional beat than it is a physical beat

I just have a connection with sign language. I always thought the deaf community was a different community to be a part of. In high school, me and my friend took sign language.

Every human being should know two languages: the language of society and the language of signs. One serves to communicate with other people, the other serves to understand God's messages.

After all, when you come right down to it, how many people speak the same language even when they speak the same language?

Unless I'm writing in the Igbo language, I use a language developed elsewhere, which is English. That affects the way I write. It even affects to some extent the stories I write.

In the past, I've always written about my experiences, and people related to that, but there's a lot of other things that I've never written about that people have gone through. I'm still keeping it young and edgy, but I'm definitely putting more of a mainstream twist to it.

I have a one-question language test that people who have lived abroad do better on than those who studied in a classroom. Try my test yourself: In a foreign language you've studied, how do you say 'doorknob'?

Only one thing remained reachable, close and secure amid all losses: language. Yes, language. In spite of everything, it remained secure against loss.

The ambiguity of poetic language answers to the ambiguity of human life as a whole, and therein lies its unique value. All interpretations of poetic language only interpret what the poetry has already interpreted.

My own view is that one cannot be religious in general any more than one can speak language in general; at any given moment one speaks French or English or Swahili or Japanese, but not 'language.

What a great poem teaches you - and it's not intellectual at all - is the resonance in the language that's heard there. This goes back to the very origins of poetry and to the very origins of language.

We're living in a time when the sheer amount of language has exponentially increased. As writers, if we wish to be contemporary, I think we need to acknowledge that the very nature of the materials that we're working with - the landscape of language - is very different than it was a few decades ago.