Best 10564 quotes in «moving quotes» category

I very rarely made any move to direct anything. I didn't have any faith in myself.

I've translated two of Bae's novels, A Greater Music and Recitation, which are coming from Open Letter and Deep Vellum in October and January respectively. A Greater Music is a semi-autobiographical book centred on a Korean writer moving to Berlin, learning to live and even write in a foreign language.

I've thought of doing many things in my life, under the influence of life, and I've never actually thought of straddling two carriages while they're moving.

I've tried to move on with my life and my career for the last two years and do my own thing, and 'American Idol' and FOX, they've just been making it really tough for me to do that.

I've written so many things over the years that I don't want to go back to being just a scriptwriter. I'm in what I consider to be the enviable position of all I have to do is come up with the idea and write an outline that makes it seem like it's a viable idea that will interest people, and then other people write the scripts -- and I become the executive producer or the producer, depending on how much involvement I have, and I get a creative credit and then move on to the next project.

I've tried to move [the sidhe-seers] during times of peace and quiet and had the luck of a broken mirror nailed beneath an upside-down horseshoe with a ladder nearby that a black cat just walked under.

I've used a cellphone exactly twice. Things move on. The world changes. And I don't know it

I've wanted to manage a long time and I've been moving in that direction.

I've wondered, though, if one of the reasons we fail to acknowledge the brilliance of life is because we don't want the responsibility inherent in the acknowledgment. We don't want to be characters in a story because characters have to move and breathe and face conflict with courage. And if life isn't remarkable, then we don't have to do any of that; we can be unwilling victims instead of grateful participants.

Ive walked a lot in the mountains in Iceland. And as you come to a new valley, as you come to a new landscape, you have a certain view. If you stand still, the landscape doesnt necessarily tell you how big it is. It doesnt really tell you what youre looking at. The moment you start to move the mountain starts to move.

I've worked since I was 11 years old, playing music and following the dream, and shaking and moving and doing it. And then, you have cancer and it was like 'Ooooohh.' It was like a big eraser. It was the only thing in my life that had ever made me just stop.

I've written important articles on prevention, on the concept of the preventive state, how the law is moving much more in an area of trying to prevent wrongs than trying to deal with them after they occur. That will be my academic/intellectual legacy.

I visited New York in '63, intending to move there, but I noticed that what I valued about jazz was being discarded. I ran into `out-to-lunch' free jazz, and the notion that groove was old-fashioned. All around the United States, I could see jazz becoming linear, a horn-player's world. It made me realize that we were not jazz musicians; we were territory musicians in love with all forms of African-American music. All of the musicians I loved were territory musicians, deeply into blues and gospel as well as jazz.

I voted against the climate-change legislation. Not that I don't believe we should move to a clean-energy economy, and it can be good for South Dakota's economy to do so, but it was started out as a very partisan bill in the committee.

I walk fast. Keep moving. Always be a moving target. Marilyn Monroe taught me that.

I want each character to be as unique as possible. I want them to reflect something of who they are in the way that they move and in how their bodies work. That was foremost in my head when I was writing Salvage: I wanted every gesture, every little movement, to really carry meaning and communicate meaning to the reader. I was very conscious of that when I was writing.

I want a room decorated with bones!" Dan said. "Where'd they come from?" "Cemeteries," Amy said. "Back in the 1700s, the cemeteries were getting overcrowded, so they decided to dig up tons of old bodies–all their bones–and move them into the Catacombs. The thing is...look at the dates. See when they started moving bones into the Catacombs?" Dan squinted at the screen. He didn't see what she was talking about. "Is it my birthday?

I want each season to feel new and special. I don't want it to feel, "Oh, more of this." That's something that's easy to do in the first three seasons, and harder to do as you go. I'd rather err on the side of blowing up everything and being like, "Why did you do that? There was more story to tell there," and moving the family to Mexico like on Weeds, instead of people going, "Oh, we've seen this already. We're tired of this.

I wanted to be wanted and he was very beautiful, kissed with his eyes closed, and only felt good while moving. You could drown in those eyes, I said, so it’s summer, so it’s suicide, so we’re helpless in sleep and struggling at the bottom of the pool.

I wanted to get a guitar [when I was 13] so I could play punk songs because kid taught me power chords at summer camp. He was like, "You could play all punk songs if you just learn this chord and just move it around on the guitar".

I wanted to create a believable feeling for 18th Century reality in the Perfume: The Story Of A Murderer. I didn't want this typical film feel of strange people in strange costumes, not really knowing what to do or how to move. If you put an 18th Century costume on Alan Rickman, it looks like he's been wearing it forever because he inhabits the stuff. He is a character that can really travel in time as an actor and transform into this 18th Century person with seemingly no effort.

I wanted to be a playwright in college. That's what I was interested in and that's what I was moving toward, and then I had the lucky accident of falling in love with film. I was 19 or 20 that I realized films are made by people. Shooting digitally became cheaper and better. You couldn't make something that looked like a Hollywood film, but you could make something through which you could work out ideas. I was acting, but I was also conceiving the plots and operating the camera when I wasn't onscreen. I got very unvain about film acting, and it became a sort of graduate school for me.

I wanted to move on. I wanted to do acting. The next thing I did after [MADtv] was a good hybrid of that. I did this show with Bob Odenkirk and Derek Waters (creator of Comedy Central's "Drunk History") and it was a little homegrown thing that we shot and then we sold it to HBO. We made a pilot and HBO didn't pick it up, but then we made all these webisodes. This was before streaming stuff online made any sense. (The episodes are available on YouTube). Nobody even knew how to watch things on the internet.

I wanted to pack a lot into the lyric, but not go beyond its bounds. Some have written that I wanted to expand what the lyric could do. I just want the hugeness of experience-which includes philosophical discursiveness-to move at a rate of speed that kept it (because all within one unity of experience) emotional. Also, often, questions became the way the poems propelled themselves forward It brings the reader in as a listener to a confession[.] A poem is a private story, after all, no matter how apparently public. The reader is always overhearing a confession.

I want language to help us live in a world of wonder/terror/change. I want it to be about "becoming" rather than "being." I think that being and nouns are part of our hopeless dream that time will stop and we will not die. but it's not that way. So, why not celebrate verbs and the beloved's metamorphosis into other people or creatures or places - the same spirit but moving through things, not static.

I want everybody to find meaning in whatever they do. That's the only purpose to life, actually. Let that meaning be so strong that you can't not wake up every day and be like, "Yep, this is what I gotta do, let's keep it moving" and not be disgruntled about it, and start using other people as excuses for why you're not creating a better life for yourself.

I want my stories to be something about life that causes people to say, not, oh, isn't that the truth, but to feel some kind of reward from the writing, and that doesn't mean that it has to be a happy ending or anything, but just that everything the story tells moves the reader in such a way that you feel you are a different person when you finish.

I want the kind of career where I can move back and forth.

I want to always move forward with everything I am doing. So, I do the radio show, speak at universities and other social institutions all around the world, appear on TV, and continue to create music all in the hope to keep the struggle alive.

I want to be able to walk a red carpet and look great but also be able to shred onstage and move. So I tend to go for comfort over anything - I like menswear-inspired stuff but I also like getting glam once in awhile. Whatever I wear, I like it to feel very strong and very unique.

I want to be a dad, first and foremost. I want to be a good father. I've spent so much of my life on the move and travelling around the world that just to set up a home for my family and be a good dad is something that motivates me.

I want to be a jazzman until the day I die. To help keep that motion, momentum and movement going, for myself, for my students, for the people who hear me. Oh sure, some days you look around at this country and look at the evidence and think, Oh Lord, don't look good. But you keep moving. You gotta keep moving.

I want to be reborn as a tree; that way I can plant my roots down, never move and can never be separated from the ones I love.

I want to be the best that I can be. I want to do and have and live in a way that is in harmony with my idea of the greatest goodness. I want to harmonize physically here in this body with that which I believe to be the best, or the good way, of life. If you will make those statements, and then do not take action unless you feel good, you will always be moving upon the path in harmony with your idea of that which is good.

I want to be the kind of person who can do that. Move on and forgive people and be healthy and happy. It seems like an easy thing to do in my head. But it's not so easy when you try it in real life.

I want to be a worshiper with that heart-desperate to be as close to my Savior as possible, and following his every move and step.

I want to create a space that moves people. It doesn't matter if it is a house, or a museum, or whatever. So, it is somebody sitting on that lawn, just going around and around and feeling really happy. That is something that I'm striving for.

I want to get a real sense of intimate connection with each of the animals - with that particular lion or elephant in front of me. I believe that being that close to the animal makes a huge difference in the photographers ability to reveal its personality. You wouldn't take a portrait of a human being from a hundred feet away and expect to capture their spirit; you'd move in close.

I want to get away from it all. Move to the sticks. Montana. Hundreds of miles from civilization. Get a cabin in the snow. Curl up with some cute girl. Say stuff to her like, Scream all you want, sugar. Ain't nobody gonna hear you!

I want to figure out a way to not be stupid with money, then make a whole bunch of it, then I want to move to Outer Mongolia. I want to milk a yak. Maybe I'll just settle for a cow.

I want to force myself again and again to leave the warmth and security of static situations and move into the world of growth and suffering where the real books are people's minds and souls.

I want to live a good life and pay my taxes. 'The Killing' was a blessing. It was two wonderful years. But I had reached a point in my life, especially with a young son, that I was no longer willing to compromise my life for the sake of a paycheque. I was no longer willing to move where the tax credits are strong.

I want to make meditation an absolute for all students, whatever the subject they may be studying, so their awareness becomes more and more clean and clear. And out of that clarity we can create a beautiful world. Those scientists, if they are also meditators, will not create atomic bombs to destroy. They may use atomic energy to move trains so they don't pollute the air. They may use that atomic energy in the factories so they don't pollute air. Rather than killing man, the same atomic energy can be a tremendous help to save man and his future.

I want to keep things simple and keep my energy focused on moving forward.

I want to move from what we let go of to whom we hold on to. I want to explore not just the gravity of what we forsake in this world, but also the greatness of the one we follow in this world.

I want to move well and comfortably, and enjoy the world around me.

I want to provoke people with thoughts, not by taking my clothes off. It's time to move on from Stripperville.

I want to remind priests that the confessional must not be a torture chamber but rather an encounter with the Lord’s mercy which spurs us on to do our best. A small step, in the midst of great human limitations, can be more pleasing to God than a life which appears outwardly in order but moves through the day without confronting great difficulties. Everyone needs to be touched by the comfort and attraction of God’s saving love, which is mysteriously at work in each person, above and beyond their faults and failings.

I want to preserve a certain unknowing about my own poems - perhaps because unknowing is in itself a useful poetic thirst. To move the perimeter of saying outside my own boundaries is one reason I write.

I want to use my position of leadership to help move along at a faster pace what I believe and know the Obama administration wants to do around the urgency of climate change.