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Release Quotes

“I always loved writing songs - writing for myself and demo-ing songs, really with no intention of ever letting anyone else hear them. Finally the Foo Fighters stuff happened when I just went to the studio down the street from my house and recorded some stuff in about five or six days, and all these people wanted to release it as an album. I wanted to release it on my own, with no photos and no names on it.”

“There is an exercise I teach at colleges: Get yourself a canvas and a bunch of acrylics and go into a very dimly lighted room. Dip a brush into one of the colors, slap it on the canvas, don't look, close your eyes, make a painting, don't look, turn the lights on and see what you've got. I think this releases people from the editor in their life that's always standing over their shoulder saying, "Oh, you don't have any talent; who do you think you are?"”

“We get information in the mail, the regular postal mail, encrypted or not, vet it like a regular news organization, format it - which is sometimes something that's quite hard to do, when you're talking about giant databases of information - release it to the public and then defend ourselves against the inevitable legal and political attacks.”

“As we have seen, WikiLeaks is a robust organization. During my time in solitary confinement in the basement of a Victorian prison, we continue to release, our media partners continued to write stories. The important revelations from this material continue to come out. We have approximately 2,000 cables into 250,000.”

“I believe in tension and release, in that if you stay in the the same tone and mode and intensity for too long, it actually becomes monotonous. When you change up your pace or your humour level, then the release is welcome... I believe that's my biggest job: tone control, and maintaining enough unity so that it all feels like one movie and all the scenes belong together, and yet diversity so that emotional and narrative interest is maintained.”

“problematic within post-Reformation dogmatics. Is faith something I `do' to earn God's favour, and, if not, what role does it play? Once we release Paul's justification-language from the burden of having to describe `how someone becomes a Christian', however, this is simply no longer a problem. There is no danger of imagining that Christian faith is after all a surrogate `work', let alone a substitute form of moral righteousness. Faith is the badge of covenant membership, not something someone `performs' as a kind of initiation test.”

“Organizational Development: The New Christian Right of the 1980s was dominated by paper organizations that were essentially the mailing lists of a handful of politicized ministers. Such organizations were better at issuing press releases than doing the hard work of political mobilization and advocacy. By contrast, the movement of the 1990s has generated a plethora of grass-roots organizations that allocate meaningful responsibilities to individual members. The goal is to create an army of grassroots activists who know how to stimulate political change.”

“I tell my students one of the most important things they need to know is when they are at their best, creatively. They need to ask themselves, What does the ideal room look like? Is there music? Is there silence? Is there chaos outside or is there serenity outside? What do I need in order to release my imagination?”

“As you release the things you no longer love or use, you call back to yourself the parts of your spirit that have been attached to them, and attached to the emotional needs and memories associated with those objects. In so doing, you bring yourself powerfully into present time. Your energy, instead of being dispersed in a thousand different, unproductive directions, becomes more centered and focused. You feel more spiritually complete and more at peace with yourself.”

“Upon its debut, The Room was a spectacular bomb, pulling in all of $1,800 during its initial two-week Los Angeles run. It wasn't until the last weekend of the film's short release that the seeds of its eventual cultural salvation were planted. While passing a movie theater, two young film students named Michael Rousselet and Scott Gairdner noticed a sign on the ticket booth that read: NO REFUNDS. Below the sign was this blurb from a review: “Watching this film is like getting stabbed in the head.” They were sold.”