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“When you reflect upon the significance of Dr. King to this nation, it's criminal that he hasn't had a feature film that was centered around him until now. That, in and of itself, was emotional. But when you're doing scenes on the Edmund Pettus Bridge, with people still living in Selma and now in their 60s and 70s who had actually marched, who were there that original Bloody Sunday, that's humbling... that's deeply moving. You're no longer acting at that stage, you're just reacting, because it takes the filmmaking process to another dimension.”

“I thought I should try something relatively inexpensive, relatively contained, relatively small. I started working on a feature, a film I'd still like to make: a very talky film of people and ideas about our contemporary state with regard to relationships, marriage, sex, and romance. I started trying to educate myself about filmmaking.”

“A certain kind of methodologically-minded philosopher of science is quick to read off metaphysical conclusions from features of scientific practice. Chemists don't derive their laws from fundamental physics, so reductive physicalism must be false. Biologists refer to natural numbers in some of their explanations, so numbers must exist. I think that this kind of thing makes for bad philosophy.”

“The relevant features of scientific practice often have mundane explanations which don't point to any deep metaphysical moral. (Thus it would simply be messy and pointless for the chemists to essay physical reductions, or for the biologists to offer number-free explanations. It's a weird kind of science-worship that views these practical considerations as clues to the nature of reality.)”

“What many people don't see is that there are abundant examples of phenomenal opacity: It is one of the most interesting features of the human conscious model of reality that, first, it can contain elements that are not experienced as mind-independent, as unequivocally real, as immediately given, and second, that there is a "gradient of realness" in which one and the same content can be experienced transparently or in an opaque fashion.”

“The kind of approach I take is different from much of experimental philosophy. Although the experimental philosophers and I are certainly in agreement about the relevance of empirical work to philosophy, a good deal of their work is devoted to understanding features of our folk concepts, and in this respect, at least, I see them as making the same mistake as those armchair philosophers who are interested in conceptual analysis.”

“Internalist approaches to epistemology, I believe, have a great deal of intuitive appeal. Internalists believe that the features in virtue of which a belief is justified must somehow be internal to the agent. On some views, this amounts to the claim that these features must be accessible to introspection and armchair reflection. On others, it amounts only to the claim that they must be mental features.”

“There has certainly been a great deal of work addressing the relationship between naturalism and the first-person perspective. Quite a number of philosophers have suggested that there are features of the first-person perspective that naturalism just cannot accommodate, whether it be qualitative character, or consciousness, or simply the ability we have to think of ourselves in a distinctively first-person manner.”

“Autism reaches out in many different directions. It can be associated with language delays. It can be associated with epilepsy. It can be associated with some degree of intellectual disability, but the two core features of autism, I see, is impairments and social cognition, understanding and in restricted interests and repetitive behaviors.”

“I kind of don't believe in actors directing themselves. Obviously some people have done it well, but I don't see how I could. It's funny that you ask, because I've just been thinking that maybe I'd rather direct The Bell Jar than act in it. It's a huge leap to go from a short to a feature, so I'm tentative - I'm like, Well, that's just so triple-type-A personality of you.”

“I have a 22-year-old son, and when my son was born I made a decision to raise him. My husband and I took turns working, and it's easier to raise a kid in the documentary world, where you go away for two weeks or three weeks rather than the months that you spend on a feature. That was and still is much more open to women DPs than the world of fiction.”