Getting a job decreases the amount of work it takes to live. That’s why jobs are good.
Karl Smith. (via)
Tag: quotes
Strange as it may sound to many people, who tend to think of critics as being motivated by the lower emotions: envy, disdain, contempt even… Critics are, above all, people who are in love with beautiful things, and who worry that those things will get broken.
Music is not ruined by other people liking it. Discovering things for the first time can still be the source of great pleasure, even when everyone else in the world has already heard it.
You should just sit down, there should be a bottomless thing of chips and really good salsa and then your meal starts. This whole thing about sitting down and ordering chips and salsa and paying $5.00 for it is insane.
Annie Clark. Amen.
As there is no appetite, sexual or otherwise, without excitement, the sane person has to be unusually mindful of all the ways she has of attacking, trivializing, ignoring, ironizing and generally spoiling her own excitement. So she will prize charm in herself and others because charm gives excitement a chance; and she will be suspicious of her own shyness–and more sympathetically suspicious of other people’s–because it too smugly keeps the excited self at bay.
We recognize our sexual desire by the fact that once again–once again, after childhood–we feel our safety and our excitement are in conflict with each other. When we feel we are taking a risk, or are at risk, there is always an object of desire in the vicinity.
Since money always promises something other than itself–it is only, as we say, worth what it can buy–it seems to protect us, as promises do, from the fear of there being nothing and no one that we want.
Adam Phillips. I think I’ll post a couple more from his very good Going Sane later.
On the first tour through America, my spandex—I fucking hate saying, “my spandex”. It’s a pretty evil phrase.—They were wet from the night before, and I was drying them by the heater. A big hole melted right in the crotch. It was like, “They’re like pantyhose.” I just opted to keep my jeans on, and that was the best thing that ever happened.
James Hetfield in the April 2001 Playboy interview with Metallica.
When I open my mouth, most of the time something somewhat eloquent comes out, and once in a while I talk a bunch of fucking bullshit. I’m aware of that.
Lars Ulrich in the April 2001 Playboy interview with Metallica.
An interview is a halfway point between a psychoanalytical sitting and a competitive examination.
Federico Fellini in an interview with Bright Lights Film Journal.
On the first tour through America, my spandex—I fucking hate saying, “my spandex”. It’s a pretty evil phrase.—They were wet from the night before, and I was drying them by the heater. A big hole melted right in the crotch. It was like, “They’re like pantyhose.” I just opted to keep my jeans on, and that was the best thing that ever happened.
James Hetfield in the April 2001 Playboy interview with Metallica.
When I open my mouth, most of the time something somewhat eloquent comes out, and once in a while I talk a bunch of fucking bullshit. I’m aware of that.
Lars Ulrich in the April 2001 Playboy interview with Metallica.
Besides, I am destined to perish, definitively, and only some instant of myself can survive in him. Little by little, I am giving over everything to him.
From Borges’ short story Borges and I, which, even though it’s so short, I’ve tumbled before. My reading of his work has been scattered (I picked up a few different collections to fix that), but it almost always hurts my brain in a good way. For the volume of imagination and inventiveness and ideas in such efficient form, I remain convinced that the right Borges at the right time can be more worthwhile than entire literature classes.
Besides, I am destined to perish, definitively, and only some instant of myself can survive in him. Little by little, I am giving over everything to him.
From Borges’ short story Borges and I, which, even though it’s so short, I’ve tumbled before. My reading of his work has been scattered (I picked up a few different collections to fix that), but it almost always hurts my brain in a good way. For the volume of imagination and inventiveness and ideas in such efficient form, I remain convinced that the right Borges at the right time can more worthwhile than entire literature classes.
When I begin working on a film, it’s like standing on shaky ground. I never know where I’m standing. My only sure footing is to make the movie. If the movie moves me and interests me, I presume it will move and interest others. At the same time, if I’ve made a good movie, I try not to repeat it.
I frequently hear music in the very heart of the noise…
George Gershwin on Rhapsody in Blue’s inspiration, the rhythm of the city train. (via adamnorwood)
This reminds me of what I called and still call one of my favorite pieces of music ever, Steve Reich’s City Life, which uses a bunch of samples from New York City street scenes: hawkers, sirens, car and boat horns, screeching tires, subway whooshings. Luckily all five parts are online for your listening pleasure.
There are two ways of walking through a wood. The first is to try one of several routes (so as to get out of the wood as fast as possible, say, or to reach the house of grandmother, Tom Thumb, or Hansel and Gretel); the second is to walk so as to discover what the wood is like and find out why some paths are accessible and others are not. Similarly, there are two ways of going through a narrative text.
Umberto Eco, in Six Walks in the Fictional Woods. (via)
Life gets a lot easier when you give up being outwardly sad about anything.
Colin Marshall. Still pondering this one.
Life gets a lot easier when you give up being outwardly sad about anything.
Colin Marshall. Still pondering this one.
To find out who “you” are, focus not on your intentions but on how to interpret your behaviors.
Justin Wehr paraphrasing Sheena Iyengar.
Mark Larson 