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Response Quotes

“The problem a lot of writers have is that they really enjoy people saying, "You're brilliant." They let their self-perception be dictated by reader response. But if you're going to let other people make you feel good, you're going to end up feeling bad when they say the opposite. You've got to be a cultural stoic. Then you won't be devastated by people who respond negatively. Of course, the downside is that it sort of stops you from being able to enjoy people liking your work.”

“When you're doing a play, you're onstage, there's no stopping or starting, there's no stopping to reposition for the camera or have a check done. You're there 'till the end of the show. What that gives you is a great gift, which is to command the audience, and you get to play with your script and your fellow actors. Every night, it's different. Hopefully it goes well and you get a great response. But the technique that you have to have on film or television is so delicate. It's fine-tuning. That is very different from being onstage, but they both have important skill sets.”

“I hate the tribal hatred thesis - in Yugoslavia and Rwanda and places like that they kill each other because that's just what people do there. I think it's profoundly ignorant. I was astonished when Samuel Huntington wrote his famous clash of civilizations essay in response to the Yugoslavian war. I was on the streets in Sarajevo and every other person I met came from a mixed marriage. And here is Professor Huntington from Harvard writing this is a clash of civilizations. That was absurd.”

“Contemporary art often plays to the part of us that is very uncomfortable with not being sure, that cannot maintain a state of 'don't know'. The over-prioritising of meaning gets in the way of just experiencing the art in a more sensual way. Judging quality purely from an intuitive emotional response needs more confidence and experience than just working it out like a crossword clue.”

“One of our great strength, world capitalism, is the most successful economic system possible, but has also become one of shorter and shorter cycles of evaluation. CEOs, companies, stocks, profits and debits change at an ever more accelerated pace in response to the demands of stockholders and the market. We have already experienced some consequences of the shortening cycle of decision making in business, but those are minor in relation to the grand systemic collapse that always eventually results from such accelerating and shortening periods for leadership goals.”

“Peace happens when people pray. "Cast all your anxiety on him because he cares for you" Casting is an intentional act to relocate an object. Let this "throwing" be your first response to bad news. As you sense anxiety welling up inside you, cast it in the direction of Christ. Do so specifically and immediately. Find a promise of God that fits your problem, and build your prayer around it. These prayers of faith touch the heart of God and activate the angels of heaven. Miracles are set into motion. Your answer may not come overnight, but it will come. And you will overcome.”

“In the U.S., African- Americans, no matter what we do - when we sit in, when we freedom ride, when we kneel in, whatever it is, the initial response from the public tends to be overwhelmingly negative, because basically we're kind of raining on folks' parades. As time goes on, the Muhammad Ali's and all the people that raised those issues, they then become heroes later when people reflect on the courage they showed and the issues that they raised. And Donald Trump is in danger of being a more and more reviled figure as the years go on.”

“To talk about something like prostitution, the other person then becomes the wild card that will have a response, and it may not be the response you want. Sometimes I think saying it would be selfish to tell them is still being under the illusion that you have all the power. You say it would be selfish to tell them, when in fact you're scared that in telling them, it gives them the power to do what they might want to do because once they know, they become somebody who could be reactive.”

“In volume and velocity, the new media are making available testimony on a previously unimaginable scale. I'm neither as romantic about the new media landscape, nor cynical. But what's indisputable is the experimental energy that digital forms are unleashing. Among my students and among up-and-coming artists, I find myself startled by the creative responses to the technological, environmental, and political upheavals of our time.”

“Whatever they are, can Comics be "Art"? Of course they can. The "Art" in a piece is something independent of genre, form, or material. My feeling is that most paintings, most films, most music, most literature and, indeed, most comics fail as "Art." A masterpiece in any genre, form or material is equally "good." It's ridiculous to impose a hierarchy of value on art. The division between high and low art is one that cannot be defended because it has no correlation to aesthetic response.”

“With Gargoyles, I didn't want to walk away. I liked the idea too much, I was too passionate about it and so I went to my bosses and said, "Guys, I want to produce this show." Their initial response, lets call it dubious, but they let me give it a shot and sort of the rest is history. I moved from one side of the desk to the other side of the desk, and became a full time writer which had always been the goal, but I came about getting the actual work in a sort of roundabout way.”

“You've seen President Trump act decisively when it comes to Syria. It didn't take him long to pull the trigger in regard to a response to the chemical attack. That's a decisive leader and that's who the G20 leaders saw in Hamburg, as someone who is decisive, someone who is not afraid, someone who doesn't kowtow, and stands up for himself when it comes to issues of disagreement like trade and the Paris agreement.”

“I've always taken any sort of audible response as a compliment, and I always understand it is our consumers' right and privilege to say whatever people want at our events. So as long as there's no silence, I'll keep being excited. But that stuff in the arenas is one thing. The comments on the internet - the obnoxious, visceral comments - are baffling to me. I just don't know why that's the way it is.”

“I perform in art time and in real time, and you can't tell the difference - no one knows how to separate a real act from an art act in my work. When I lived on the street for a year, people only knew that I was homeless. They didn't know that I was an artist doing a piece. I have to use real time in my work. I do, however, have to find a subtle way of documenting real time, in order for people to have a response. That means punching into a work clock every hour in the case of one piece.”

“In one sense, you put a lot of yourself into a small press - it's your personal tastes that are on the line - so when criticism is levelled it can feel personal. But, on the other hand, it can be very welcome and necessary. You're never entirely impervious, and one of the main benefits of being a small operation is that you can change the way you do things quickly in response to criticism. In all instances it pays to have a sense of humour and perspective.”

“The anonymity issue is a big question. As long as people can disguise cyber attacks and as long as there is a sort of question mark over who is responsible, then the problem will continue to exist. And of course what happens in response to that is that there is a move to try and refashion the Internet so that anonymity is impossible, which of course leads to fears among all sorts of groups - civil rights groups, NGOs, and political parties - that the Internet is going to be used simply as a method of control. So these are very sensitive issues.”

“I wasn't sure what I wanted to do with my life. I always wanted to pursue either music or comics, so when the opportunity came from comics publisher Fantagraphics for my brothers Jaime and Mario and I to make a comic book together, we jumped at the chance: "Let's just do it and see what happens." Really, we weren't sure where we were going to go with it. We thought our work was good enough to be out there, but we didn't know that the response was going to be pretty good, pretty quick.”

“Right now, I see a lot of alarming trends inside Russia, especially in Siberia, which I represent in the parliament. People start to ask questions: If we mine all the natural resources - if we have all the oil, all the gas, all the coal, all the gold, all the diamonds - why the hell do we need central Russia? They are just eating at our resources. Without Moscow having a response for this, it would face very nasty questions such as one that was asked during my recent reelection campaign - it actually became a slogan of my campaign - "Stop feeding Moscow."”

“The way I think of it is that Russia is not going to change fundamentally. They may change tactics; they may look at their interests and figure out what actions they take, but they're not going to change fundamentally. And they're going to try to gauge what will the responses be to things that they do, and what will our things be. And here, they do wonder what is the level of our resolve? How far are we willing to go? And that is something that is very hard to gauge.”

“To be honest, I am not theatre-trained and though I am confident in my skill set, to do theatre requires a better-tuned set of muscles and I sometimes defer to actors who are better trained. But at the times I do want a shot, I'll go for it, especially if the piece speaks to me and the opportunity comes up. The immediate response from a theatre audience is so thrilling, affirming, and soul-feeding; to know how you've affected an audience at curtain can be ego-blowing, both good and bad.”

“I think, oddly, that the world of the amateur is quite self-contained, and it depends on "likes" from other amateurs to perpetuate itself. Of course an awful lot of my colleagues are involved with Instagram - they get likes and dislikes, maybe just likes, I don't know - but I think that it's far less self-contained, the world I work in. It goes off in different directions, and is dependent on responses different from a tick or a like or whatever.”

“I'm really happy that people are starting to hear my band, and we are so happy to be conduits for all this other happiness, and this emotional response. So, I can't be like, "that doesn't matter to me, I'm an artist, I exist apart from that!" But on the other hand, if you buy into that too much, you're setting yourself up... if I start thinking, "well, people at the show really liked one song, maybe I should write more songs like that," then I'm in trouble.”

“When I first asked to take pictures of women at their homes, I was using my formal camera and I struggled to get the shots because I was still very much in the role of the photographer. Then the next time I had this little digital camera and their response to me would be completely different - I was a friend and I got new kinds of pictures. I was always treading a line between photographer and friend.”

“At the beginning of my career, a more senior photographer told me to shoot stories on women and I didn't want to. But I spent two and a half years in India and chose to do stories about women because I was shocked by their treatment. My stories in the Middle East and on the border of Europe and Asia were a response to my time in India. They weren't driven by a feminist idea but when you're moved by women's issues in these countries you can't help becoming a feminist somehow.”

“I don't really stay away from politics but the bullshit just gets to be too much. Any political tweets I take down after an hour or so. They are met with such a wall of stupidity and anger, it is hardly worth it to leave it up. Particularly, if you say anything about Hillary Clinton, the responses are just nuts - "YOU JUST FEAR SMART, STRONG WOMEN, MR. MAN".”

“When I'm asked to define "Southern food," I usually turn that question back to my audience and ask them what they think. I hear responses like fried chicken, catfish, barbecue, collard greens, and sweet potatoes. These are excellent examples, because they are historically grounded. You can trace each dish back to the people who brought these food traditions to the South. Today, these foods are central to the core culinary grammar of the American South.”

“I'm very objective about what I want to have happen to my protagonists and where that has to come from. On one hand, it does help me that I had a mother who might have taken the last dollar and bought a pack of cigarettes or something, but I also had a mother who exposed me to art, music, other religions, different foods. My mother was very adventurous in her own way, so she fed the part of me that was going to grow up to be a writer. But there's always, too, the opposite response that helps me to create.”

“When I was on an American show in 2015, I tried to talk about the threat Vladimir Putin posed to the free world. The interviewer said, "Wake me up when he takes over Poland." We heard something similar from years ago and we ended up with World War Two. Putin decided to skip Poland and went straight to Wisconsin. Putin is at war, a hybrid war, with the free world. His domestic propaganda is based entirely on a strong man challenging the free world. When the demonstrations around Russia began, the harsh response was because it was more important to show strength.”

“Dictators are not strategists in the way I normally use that term. All the dictator cares about is survival. That means constantly worrying about the tactical response, "What do I do today, tonight, tomorrow morning, to stay alive?" Vladimir Putin doesn't care what happens a year or five years from now. He just cares about staying in the game. That is all he needs to survive.”

“I was in college - Carnegie Mellon, which is one of the reasons Pittsburgh was appealing to me - and I personally feel that whole world of what we used to call "college radio" is a big part of what kept me sane through a period where I stopped dating, I felt like a freak, I felt like no girl would like me. You know, a very adolescent response to losing my hair. I turned to obsessing about The Replacements and The Smiths and R.E.M. and getting further into The Velvet Underground. People who, in my sheltered suburban life, I knew of, but didn't know fully.”