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Pieces Quotes

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Pieces Quotes

“There is an argument for believing that the entire process of writing a piece of fiction is simply a thinly-controlled and highly-internalised nervous breakdown designed, with a bit of luck, to produce something worthwhile at the end.”

“There must be a union between the spirit in wood and the spirit in man. The grain of the wood must relate closely to its function. The abutment of the edge of one board to an adjoining board can mean the success or failure of a piece. () Gradually a form evolves, much as nature produces the tree in the first place. The object created can live forever. The tree lives on in its new form. The object cannot follow a transitory “style”, here for a moment, discarded the next. Its appeal must be universal. Cordial and receptive, it should invite a meeting with man”

“The myriad-minded man, our, and all men's, Shakespeare, has in this piece presented us with a legitimate farce in exactest consonance with the philosophical principles and character of farce, as distinguished from comedy and from entertainments. A proper farce is mainly distinguished from comedy by the licence allowed, and even required, in the fable, in order to produce strange and laughable situations. The story need not be probable, it is enough that it is possible.”

“Small business is the gateway to opportunity for those who want a piece of the American dream... Well, wouldn't it be nice to hear a little more about the forgotten heroes of America - those who create most of our new jobs, like the owners of stores down the street; the faithfuls who support our churches, synagogues, schools, and communities; the brave men and women everywhere who produce our goods, feed a hungry world, and keep our families warm while they invest in the future to build a better America? That's where miracles are made, not in Washington, D.C.”

“For a woman as for a man, marriage might enormously help or devastatingly hinder the growth of her power to contribute something impersonally valuable to the community in which she lived, but it was not that power, and could not be regarded as an end in itself. Nor, even, were children ends in themselves; it was useless to go on producing human beings merely in order that they, in their sequence, might produce others, and never turn from this business of continuous procreation to the accomplishment of some definite and lasting piece of work.”

“The artist has some internal experience that produces a poem, a painting, a piece of music. Spectators submit themselves to the work, which generates an inner experience for them. But historically it's a very new, not to mention vulgar, idea that the spectator's experience should be identical to, or even have anything to do with, the artist's. That idea comes from an over-industrialized society which has learned to distrust magic.”

“As a blogger, Chez Pazienza is filled with outrage, passion and insight -- delivered with a distinctive point of view, a wicked sense of humor, and a two-fisted style of prose. In Dead Star Twilight, he turns all these on himself -- and produces a fierce, funny, disturbing, but ultimately uplifting memoir. This is the book A Million Little Pieces dreamed of being.”

“Somebody's buying these treasury bills at 1/20th of one percent. I mean we consuming about $2 billion a day of goods and services beyond what we're producing.As long as we consume more than we produce, and we trade away little pieces of the country daily, they're going to own something. Now, they can't run from American assets. I mean every day the rest of the world is going to have about two billion more of American assets than we have, as long as they sell us these goods.”

“I have never examined the subject of humor until now. I am surprised to find how much ground it covers. I have got its divisions and frontiers down on a piece of paper. I find it defined as a production of the brain, as the power of the brain to produce something humorous, and the capacity of percieving humor.”

“The writer learns to write, in the last resort, only by writing. He must get words onto paper even if he is dissatisfied with them. A young writer must cross many psychological barriers to acquire confidence in his capacity to produce good work-especially his first full-length book-and he cannot do this by staring at a piece of blank paper, searching for the perfect sentence.”

“When you get to really involve yourself with a piece [script] and the other people and you get to feel like it's a community and you're all building something together, it helps me to produce better work, I think. And there's an exhaustion that happens on a film set - an exhaustion that translates into a relaxation and helps me to live in the moment, in the performance I'm giving and what's happening around me.”

“When I auditioned actors I never make them act. I choose a long symphony, then I tell them to sit down and I play the symphony for them. Then I sit and I look at them. I always pick a piece of music that has up and downs, very dramatic parts, very quiet parts and really sensitive parts so that it can produce different emotions.”

“If that one is already a great artist, who knows how to educe from a small piece of wood the face of a king or of a queen, an ant or a camel, how great then is the mastery which can form as actuality everything which is in all potentiality? Therefore, God, who is able to produce from the most minute piece of matter the similitude of all forms which can be in this world and in infinitely many worlds, is of admirable subtlety.”

“It is a common experience that attempts to solve just one piece of a problem first, then others, and so on, lead to endless involutions. You no sooner solve one aspect of a thing, than another point is out of point. And when you correct that one, something else goes wrong. You go round and round in circles, unable to produce a form that is thoroughly right.”

“No one can explain how the notes of a Mozart melody, or the folds of a piece of Titian's drapery, produce their essential effects. If you do not feel it, no one can by reasoning make you feel it.”

“My first pieces, in an art context, were ways to get myself off the page and into real space. These photographic pieces were ways to, literally, throw myself into my environment. They were photographs not of an activity, but through an activity; the activity (once I planted a camera in the instrument of that activity - once I, simply, held a camera in my hands) could produce a picture.”