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Saws Quotes

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Saws Quotes

“People come up to me at conventions and say, 'I was such an outcast, I felt like such a geek, and when I saw you, you made me feel like such a normal person.' It's my favorite thing to hear, because that's how I felt when I was a kid. If Goth would've been around, I would've definitely been Goth. But there wasn't such a thing, so I was just weird.”

“I was standing on the highest mountain of them all, and round about beneath me was the whole hoop of the world. And while I stood there I saw more than I can tell and I understood more than I saw; for I was seeing in a sacred manner the shapes of all things in the spirit, and the shape of all shapes as they must live together like one being. And I saw that the sacred hoop of my people was one of many hoops that made one circle, wide as daylight and as starlight, and in the center grew one mighty flowering tree to shelter all children of one mother and one father. And I saw that it was holy.”

“I had always made pictures as I thought I saw the world, focusing on what lay in front, but this is not how one sees the world. It only frames the centre and cuts off the lateral vision, which lies unfocused. Now I found that I could turn my eye to the adjacent field of vision, seeing another focus, an extension which I added to the original. Instead of stopping at two focuses, I looked further to the side, adding another and yet another.”

“In Bergman's world I represented a sort of intellectual, skeptical, ironic person, rather cold and frustrated. When I went abroad and made films in Italy and other places, I was used in different ways. I was rather often cast as crazy people, maniacs. It was very good for me and it was fun because it is nice to play crazy people if you are not in reality. And I think perhaps that changed how Ingmar saw me. Suddenly I was on the more magical side of his world, playing the people with fantasies, variety, the artists.”

“I don't remember ever being see-saw, when I'd made my mind up that a thing was wrong. It takes the taste out o' my mouth for things, when I know I should have a heavy conscience after 'em. I've seen pretty clear, ever since I could cast up a sum, as you can never do what's wrong without breeding sin and trouble more than you can ever see. It's like a bit o' bad workmanship--you never see th' end o' the mischief it'll do. And it's a poor look-out to come into the world to make your fellow creatures worse off instead o' better.”

“It is not unreasonable to assume that the works of God, their existence and preceding non-existence, are the result of His wisdom, but we are unable to understand many of the ways of His Wisdom in His works. On this principle the whole Law of Moses is based; it begins with this principle: "And God saw all that He had made, and behold, it was very good" (Gen. i. 31); and it ends with this principle: "The Rock, perfect is His work" (Deut. xxxii. 4). Note it.”

“Coming here, I sharpened and fine-tuned everything I had and needed. What I thought of as myself as a performer, I looked back and was like, ‘Wow, I improved from where I was.’ I thought I was ready and then saw the improvements I made which were unbelievable. It makes the transition from down here to up there (the WWE roster) so much easier because you’re prepared for what they need you to do. It’s not like you’re jumping into a whole other world. You’re prepared for what they need.”

“The immaterial blue colour shown at Iris Clert's in April had in short made me inhuman, had excluded me from the world of tangible reality; I was an extreme element of society who lived in space and who had no means of coming back to earth. Jean Tinguely saw me in space and signaled to me in speed to show me the last machine to take to return to the ephemerality of material life.”

“From the very beginning, art meant something very important to the people who made it. It was a correspondence of the emotions to what you saw; it wasn't knowledge. You were being at one with something eternal; something outside of yourself. And no matter how many fake things have been brought in to suit other conditions... That is still true.”

“I made the first 'Blumen' picture after looking at Robert Mapplethorpe's Pictures book. I was struck by how much freedom Mapplethorpe was able to extract from his model's restraint-that in tying up and cropping his models, he appears to be able to work with people as forms. I never thought about my flowers as related to his (which I saw as annoyingly erotic); I thought of them in relationship to bondage. I wanted to make the flowers more aggressive and ironic and less docile and sensual.”

“I saw the comics in the East Village Other, and they weren't superhero comics, they were all about hippies and all about things hippies were interested in. And there was one page in particular, a full page strip called "Gentle's Trip Out" signed "Panzika", and it was totally, totally psychedelic, and really, I don't know if it made any sense at all but it looked so great, and I thought, "This is what I want to do, this is my big influence," and it was.”

“As the original 'Mary Poppins' budget of five million dollars continued to grow, I never saw a sad face around the entire Studio. And this made me nervous. I knew the picture would have to gross 10 million dollars for us to break even. But still there was no negative head-shaking. No prophets of doom. Even Roy was happy. He didn't even ask me to show the unfinished picture to a banker. The horrible thought struck me - suppose the staff had finally conceded that I knew what I was doing.”

“There was a stately drama writ By the hand that peopled the earth and air, And set the stars in the infinite, And made night gorgeous and morning fair; And all that had sense to reason knew That bloody drama must be gone through. Some sat and watched how the action veered-- Waited, profited, trembled, cheered-- We saw not clearly nor understood, But yielding ourselves to the masterhand, Each in his part as best he could, We played it through as the author planned.”

“I loved dancing with a delirious 'I wish I could die' passion, especially when the music appealed to me ... but alas! only one in ten partners had any notion of time, and what made it worse, the nine were always behind, never before the beat. ... Sometimes I would firmly seize smaller, lighter partners by the scruff of the neck, so to speak, and whirl them along in the way they should go, but I saw they were not enjoying themselves, and oddly enough I wanted these wretches to like dancing with me.”

“Hispanic gives us all one ultimate paternal cultural progenitor: Spain. The diverse cultures already on the American shores when the Europeans arrived, as well as those introduced because of the African slave trade, are completely obliterated by the term. Hispanic is nothing more than a concession made by the U. S. legislature when they saw they couldn't get rid of us. If we won't go away, why not at least Europeanize us, make us presentable guests at the dinner table, take away our feathers and rattles and civilize us once and for all.”

“When I first learned about Abrams and saw the types of books they were making, I knew I wanted my books to be published by them. Abrams books are special-when you hold one in your hands, you have the feeling that this book needed to be made. I once heard an artist say that books are fetish objects-I think Abrams gets that, because their books demand to be treasured. So who better to give comics art its proper due? I feel privileged to have found a home with Abrams.”

“Genesis 1 logs God's commitment to excellence when it says, "God saw all that he had made, and it was very good" (v. 31). Christians should always do good work. Christians ought to be the best workers wherever they are. They ought to have the best attitude, the best integrity, and be the best in dependability.”

“So let us raise a cheer ... for the insatiable spirit of Man eager for all new things! What a tale could have been written by that far off man who first saw a tree trunk roll and made a wheel and cart and harnessed in his mare and cracked his whip and drove away to disappear beyond the hill! Or that first man who made a boat and raised a sail and disappeared hull down to unknown shores!”

“To me, one of the most profound questions we can ask is: "So what?" And so what if there's an indefinite number of worlds with alternate "us-es" in them? The "so what," to me, comes alive when I ask myself: "What if I could find a way to get in touch with those alternate mes who made those choices?" That is, persons who, if I saw them now, I wouldn't even recognize because their choices, once small, have multiplied to make them such different people.”

“During the last five years, those four advantages-costs, products, people, goodwill-have been the salvation of Interface during a recession that saw our primary marketplace shrink by 38% from peak to trough-38%! As a heavily leveraged company with over $400 million in debt, we might not have made it without the sustainability initiative and, especially, the support of our customers. This revised definition of success-this new paradigm-has a name: "Doing well by doing good". It is a better way to bigger profits.”

“If you want to be a fiction writer, you need to start reading like a fiction writer. To do so, you need to learn about craft so that the next time you pick up a contemporary short story, you're reading it not as an abstraction floating in formaldehyde, existing simply for the theorist's dull scalpel to saw on, but as a concrete thing constructed out of words and shaped by syntax, brought to life by a writer who made several thousand choices, some large, some small, before letting that imperfect beauty, the story, walk on its own two feet.”