Top 110 Zeitgeist Quotes & Sayings - Page 2

The average person might articulate them differently, but we all think about interpersonal relationships in one way or another. Writers just express that in different ways and capture it in different ways. To some degree, we're all thinking about the same things. It's the zeitgeist. The trick, in a way, as a writer, is to hope that your interests in some sense link up with the culture around you.

The zeitgeist tells us that we 'should' prefer dark chocolate much the same as we should prefer wine, coffee, and whiskey with flavor profiles that run toward the extreme. But sometimes I just want to eat something accessible and enjoyable without embarking on a cerebral tasting exercise.

Too many American (and other) Christians revel in feelings and/or morality and don't care to develop a biblically-shaped Zeitgeist or worldview. The result is folk religion rather than classical, historical Christianity which has always included sound theology.

I hope that one day, the world gets to a place where you don't need to politicize your sexuality any more than someone needs to politicize their race - that we can just act and we can exist in this Zeitgeist, telling stories about one another.

It's pretty crazy. I was thinking about that today, how 'True Blood' has penetrated so much of the cultural zeitgeist. It's truly amazing; it's incredible! The cover of 'Rolling Stone' is major. What's next, the cover of 'Vanity Fair?' When I'm in a 'New Yorker' cartoon, then I will feel like I have made it.

It really makes little difference in the long run whether The Book of the Law was dictated to [Crowley] by preterhuman intelligence named Aiwass or whether it stemmed from the creative deeps of Aleister Crowley. The book was written. And he became the mouthpiece for the Zeitgeist, accurately expressing the intrinsic nature of our time as no one else has done to date.

The apparent pointlessness of fashion may be just what makes it so strong as a zeitgeist sensor. Even I, a designer, do not know why a certain proportion feels dated or why another one feels exciting at a given moment. I leave that to the cultural historians and theorists.

I think the key to a great romcom is to not fight against the genre. The trend more recently has been to apologise or be snarky, so it's an anti-romcom. Just lean in and embrace the fact it's a love story, and it's funny, and it's light. It can still be uber-smart and deal with zeitgeist issues.

I always thought that art that is produced somehow has to reflect the zeitgeist or the ambiance and the time and the history in which it is produced. I think it's inescapable. It's like we look back now, at work done savoring the thirties, and you can almost tell it was done during that period of time. Now maybe, that's a style of period or something, I don't know. I think my work, or the things that interest me, come out of my reaction to history.

What I say today everybody will say tomorrow, though they will not remember who put it into their heads. Indeed they will be right for I never remember who puts things into my head : it is the Zeitgeist.

I've said this a lot lately, too: if, 20 or 30 years down the road, when everything's said and done, I was never able to achieve that level of zeitgeist again, then so be it. I know how rare it is for anybody to do that. But I also feel like, OK, we're getting on to 25 years of putting out records: that's also kind of rare air for anybody who makes music. And I think you just end up kind of grateful for every opportunity that comes along.

I love making music, but if you make something that inspires somebody else to make something, without getting too airy-fairy, you've contributed to the zeitgeist in some way, and that's just an amazing feeling.

Georg Hegel viewed the "great men" as instruments of something far greater. Hegel believes that an individual can indeed embody the zeitgeist for a moment, but also that the individual isn't always clear they are doing so.

If Broadway no longer seems behind the times or ahead of the times, it may be because there are no 'times' anymore, no prevailing Zeitgeist that sets the fashion, pace, and prevailing look.

We are at a point in the video game industry that the industry is hollowed out. It is out of touch with the zeitgeist, creating sequels and formulaic games over and over again. The energy comes from the indies.

There seems to be something in the zeitgeist, and maybe it's a function of - I'm no analyst, nor am I a psychologist - when you look at things and say, What if I could go back and change things? I think we live in a world right now where people are asking those questions a lot. What if we could go back and change what we did? How would we change the way we handled things in the Middle East, and how would we change things with the banking industry, and how would we change economic and educational issues?

It's a whole series of accidents that makes a show into a hit. A show can be fantastic and still not be a hit. You just have to hit the Zeitgeist at the right moment, and there are so many factors that you're not in control of.

I think we have a responsibility to shape the zeitgeist with the movies we put out there. Because 'After Earth' isn't going to do it. 'The Expendables 3' isn't going to do it. You could make one million amazing films for the amount of money they spend on those films. I get frustrated.

I think commercial success is really important. It means there are more people listening, and you're affecting the zeitgeist more. If only a hundred people know you exist, it's harder to get your message across.

Not everyone's going to agree to eat chicken wings, that's obviously an enormous catch to our show, that's an enormous ask. It's not easy to get anyone to do your show, but on 'Hot Ones,' you have to eat scorching-hot chicken wings. So it's always going to be a challenge to book, in my opinion, no matter how popular it is in the zeitgeist.

I've never been in love with fashion, actually; trends and catwalks don't interest me. I love clothes; I love them historically and currently. They represent a spirit of the times and the zeitgeist.

I think we're at a really rich and fertile time in the zeitgeist about paying attention to diversity of all kinds - racial diversity, gender diversity, making room for a continuum that is more inclusive.

I come more to Scotland than I ever used to, so I feel more connected to it, more part of the zeitgeist. You know when you realize you have a choice and I'm choosing my homeland. It's funny: when you get older these things creep up to you.

There's something in the Zeitgeist now. A lot of [film] scripts I get have these very dark themes, a cornucopia of dysfunction. You know, Jane is a 13-year-old anorexic who lives with her parents and has been raped by her father. And this is a comedy.

Media economics now are so dependent on people saying controversial things and an entire mini-news cycle springing up around this thing that that person said. It really behooves people in the public eye to know what's in the zeitgeist and to have opinions on it. It becomes a thing of is this genuine, or is this just a way for celebrities to keep themselves relevant in a time when this is obviously a hot topic?

Woodstock didn't define a generation because everyone showed up or those who did were a perfectly representative sample. It defined a generation because, for a few days, it bottled its peculiar zeitgeist.

I love fashion because it's plugged into the zeitgeist, so it's always changing. Thirty years ago, I could never have predicted I'd be where I am today, so I know I don't know what's going to happen in the next five years or the next 20 years. I have my predictions—I'm sure technology will continue to have an impact on fashion, particularly the way people shop. I think quality will be increasingly important—we're moving away from a time of fast fashion. But really, the only constant in fashion is that you must keep moving forward, otherwise you'll be left behind.

Personally, I don't think it's possible to do great things alone or through individual actions. On the contrary, I think it is only possible to know what to do in a specific moment once you have understood the zeitgeist, and it is only possible to move things forward if you have a sense of responsibility. And that is exactly the goal I have set for myself: to try to encourage France and the French people to change and develop further.

'SNL' came out in the '70s. It's a different zeitgeist. It's hard to re-create it, just as it would be hard to do a black-and-white noir film now. The culture's different.

I tried documentaries.It wasn't the time for me. I was going to try to do the same thing, I did make a valiant attempt but it did not work - to do the same thing with documentaries that we had done with the book club [in 2011]. The zeitgeist wasn't ready. It just wasn't ready.

Mucinex were like, 'Would you like to be the Mucinex man? You sound like you're sick right now'. In each spot, they give me a little bit of room to do something strange. And in a world of fractured mediums, where there is no zeitgeist, and you get your comedy from your phone, it's all content.

Every man who speaks out loud and clear is tinting the "Zeitgeist." Every man who expresses what he honestly thinks is true is changing the Spirit of the Times. Thinkers help other people to think, for they formulate what others are thinking. No person writes or thinks alone--thought is in the air, but its expression is necessary to create a tangible Spirit of the Times.

There are so many other people involved in the making of a play or a television series or whatever... even if you're a novelist there's so much in just the marketing of a book, or even the time... the zeitgeist, the moment at which it comes out. There's a lot you can't control.

The only way to learn writing is by writing. Talent, as charming as it sounds, amounts to no more than 12 per cent of the process. Work is 80 per cent. The remaining 8 per cent is 'luck' or 'zeitgeist' - in short, things that are not in our hands.

I know as far as things like the Thunderbirds, there's a New Zealand connection. X-Files, my connection there... I mean, it could be zeitgeist. I mean, I'm into the paranormal. I have a podcast about cryptozoology. So it's out there that I'm into weird stuff.

I think people's feeling the need to be more dependent on others is caused more by the lack of good-paying jobs and by today's zeitgeist that insists it takes a village. That's disempowering although possibly true for many people.

Wokeness, for what it's worth, is a buzzword that a lot of people are not truly understanding the depth of. I think sometimes things work their way into the zeitgeist, and they lose their weight. And wokeness is one of those words that has reached that point.

Breaking new factual ground is not what Zeitgeist is about, however. Rather, the video is a powerful and fast-acting dose of agitprop, hawking its conclusions as givens. Unfortunately, like most propaganda, it doesn’t play fair with its intended audience. At times, while watching it, I felt like I was getting Malcolm McDowell’s treatment in Clockwork Orange: eyes pried wide open while getting bombarded with quick-cut atrocity photos.

When I first knew Bob Dylan, he lived in the Village. And for a man who, years after, would disdain publicity or any attempts at interviews, whenever I'd write something about him, he'd be on the street corner saying, `When's it going to run? When's it going to run?' But I must say that album that was - it was the second album he did, and though I've never been a fan of his guitar-playing, he did - I have to admit, he did catch the Zeitgeist of the time.

I think at one point, a whole new younger generation of critics come in and they're really aware of zeitgeist in their group, and the older artists tend to get forgotten as their critics retire and do other things or stop paying attention. So there's a factor of aging that I think is to be considered, too. As a middle-aged artist, you kind of get put on a shelf for the young ones.

In the Germany of the l920s, the Weimar Republic, both orga­nismic biology and Gestalt psychology were part of a larger intellectual trend that saw itself as a protest movement against the increasing fragmentation and alienation of human nature. The entire Weimar culture was characterized by an antimechanistic outlook, a "hunger for wholeness". Organismic biology, Gestalt psychology, ecology, and, later on, general systems theory all grew out of this holistic zeitgeist.

In the last analysis, provincialism is your belief in yourself, in your neighborhood, in your reality. It is patriotism without belligerence. Convincing cases have been made to show that all great art is provincial in the sense of reflecting a place, a time, and a Zeitgeist.

I think one of my favorite pieces I've ever done on the show which was about Hezbollah Israel conflict in 2006 and it was very pointed. It was a beautifully crafted piece of satire and it's a weird thing to say but it had a joke in there about 9/11 and I remember the audience sort of laughing but also kind of not knowing how to respond to that joke and it was just so - and I remember the tension after we did this joke on the air and there was this palpable gasp in the audience, but they were also laughing. And I thought oh, wow, that is something that is not being said in the Zeitgeist.

Steve Jobs did not start started Apple as a scam. But he understood early on the power of marketing. The idea of the computer as a bicycle for the human mind - I think that was something he believed. He believed in making people comfortable with these machines, which is why he spent so much time thinking about how to design them a certain way, how to make them so user-friendly and interactive, and why he spent so much time studying the Zeitgeist.

Outside of, as a kid, just wanting to be able to fly and run faster than a speeding locomotive and being able to leap tall buildings in a single bound, we'd like to hope that, when push comes to shove, we can do the right thing. I think as long as there is that hope in our society and in the zeitgeist of superheroes, Superman will be relevant.

I'm a very big believer that the reason you've seen this huge surge in superheroes both on television and in film is...part of it of course is zeitgeist. There's no denying that there's a huge appetite on the part of the audience in both TV and film for these kind of adventures.

Sometimes we make assumptions about influence when similarities between two writers' work are so strong, but they're still just assumptions. Some things are sort of zeitgeist-y. There's a collective consciousness and we're all drawing from it.

'Catfish' is a great project that we have a blast doing, and it's really fun and at the zeitgeist in the world - certainly in the U.S., hopefully in the U.K. and I imagine the rest of the world. Being at the centre of this discussion and this subject has been really incredible as both a filmmaker and someone who likes to participate in pop culture.

No church that panders to the zeitgeist deserves respect, and very shortly it will not get respect, except from those who find it politically useful, and that is less respect than disguised contempt.

Absolutely I'm going to be talking about it, because it's in the zeitgeist and it's happening. It's an election year. It's the biggest election. Every election is a big election, so whenever anybody says that it kinds of grates me, but it's a fiasco. It's turned into a complete circus act, so of course you have to make fun of it, but responsible journalists definitely are being irresponsible. They're giving [Donald Trump] so much air time.