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“The two words that I've arrived at to describe what we all need to feel about ourselves, children and adults, in order to perceive ourselves accurately, are worthy and welcome. If you don't feel worthy and welcome, you really won't know what to do with yourself. You won't know how to behave in a world of other people. You won't think you deserve to get what you need.”

“Kids don't know the language of figure skating. If you ask them to do a compulsory figure, they don't know how to, and that's so important for the edge quality. I think that's why the older skaters are still as popular as they are - because they have that quality that people are missing in this generation.”

“I think the key that differentiates the good actors from the mediocre ones that are still trying to come up, is that the good ones know how to listen. It's like being in a jazz band. They know how to listen to what the other musicians are playing. And where to come in and where to sit out. That's my approach to being in an ensemble cast and working with any kind of actors in a scene.”

“It's useful to know how much society's holding you back. My mother would talk about how she was told by the head of her art school that she was the best painter, but that she wouldn't get the biggest prize because she would waste her talent by having children. I think we have to get honest with girls about how they can expect the world to block them, and we have to prepare girls, and ourselves, to break through those blocks.”

“It [TV] is the cancer of film. It's why people can't be educated to film. In the late '60s, we expected to see a movie or two every week and be stimulated, excited and inspired. And we did. Every week after week. Antonioni, Goddard, Truffaut - this endless list of people. And then comes television and home video. I know how to work exactly for the big screen, but it doesn't matter what I think about the art of movie-making versus TV.”

“With directors, some have a kind of in-built ability to just know how to work with actors and get the best out of actors, and some don't have a clue about acting. I think it'd be a good idea if directors put themselves in front of the camera, or even went on a six-week drama course, just to know a little bit about what that feels like.”

“We can no longer oversimplify. We can no longer build lazy and false stereotypes: Americans are like this, Russians are like that, a Jew behaves in such a way, a Negro thinks in a different way. The lazy generalities - 'You know how women are ... Isn't that just like a man?' The world cannot be understood from a single point of view.”

“Most people don't know how to listen because the major part of their attention is taken up by thinking. They pay more attention to that than to what the other person is saying, and none at all to what really matters: the Being of the other person underneath the words and the mind. Of course, you cannot feel someone else's Being except through your own. This is the beginning of the realization of oneness, which is love. At the deepest level of Being, you are one with all that is.”

“You know how some people seem to think that their love for classical music makes them spiritual or at least something quite special? And others who think you are a monster if you don't 'love children,' however obnoxious the children may be? Well, I found out that many people who love flowers look down on those who don't.”

“I have a theory about American men -- I think they think women are boys who don't know how to throw a ball very well. American women are forced into the role of being men without penises, of being men who haven't quite been able to make it. If women don't want to be pussycats, then they get forced into the role of being almost as good as men. Which is lousy.”

“[Do you know] how it feels to be a clownish character? It's always complicated to imagine conveying yourself outside of your body. Inside myself I feel like this rich, complicated thing, and then I see representations of myself, especially in the media - and I think this is why it's troubling for me, because I feel so caricatured and flattened.”

“People don't know how heavily involved I am in my own career. I'm on 15 to 25 conference calls every few days strategizing with my team. I think a lot of artists sit back and have it done for them. Sometimes as women in the industry - if you're sexy or like doing sexy things - some people subconsciously negate your brain. They think you're stupid.”

“I don't change the language for children books. I don't make the language simpler. I use words that they might have to look up in the dictionary. The books are shorter, but there's just not that much difference other than that to be honest. And the funny thing is, I have adult writer friends [to whom I would say], "Would you think of writing a children's book?" and they go, "No, God, I wouldn't know how." They're quite intimidated by the concept of it. And when I say to children's books writers, would they write an adult book, they say no because they think they're too good for it.”

“Filmmaking materials are in the hands of more people now than ever before. I would like to think that the more people have these tools, the more people will learn how to use them, it's another argument I would argue for, personally, for art's education. Because there are kids who aren't that literate in screen language and they've got to know how people select shots, how people edit audio, how people combine things to make what they see on the screen. It would be like the 15th century or the 16th century in Germany, and somebody amends a printing press and you don't know how to read and write.”