Meredith Vieira Quotes
I like a little chaos. I think that's really true for my inner Buddha. I think I like a little nutsy. Maybe I can't take total peace.
Quotes to Explore
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The Enlightenment view of mankind is a complete myth. It leads us into thinking we're sane and rational creatures most of the time, and we're not.
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In Montreal, I kept thinking, 'Pay attention: this is the Olympics! It only happens once every four years!'
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I really am a cockeyed optimist.
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I began going to juvenile prisons. And some of these kids face some very, very tough lives. How do they handle these lives? Do they even know that if their life is bad, that they're still OK? Do they know that? Do they know that someone is thinking the same way that they're thinking?
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Music, first of all, is completely about abstraction, which is exactly what architecture is not. In a way, it has been incredibly constructive to know what true abstraction is. So you don't fall into the trap of thinking that what you do is abstract.
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I think I've paid my dues. I've really put in a lot of time on set.
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You don't have to aim to be the best of everything, thinking that one day you're going to be the top of the world; I don't think it exists.
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Normally, some people think about 50 as a big moment in life. I kind of think 30 because in your baseball career, 30 was considered on top kind of looking at the end of your career. So I remember thinking about 30 in different ways, but 50 just seems like another step right now.
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Creative thinking inspires ideas. Ideas inspire change.
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I am never not thinking about stories. 'The Bone Season' is 90% of my brain - 10% is interacting with the rest of the world.
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Gandalf saves the world and saves the soul of the world, really.
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All anything takes, really, is confidence.
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As soon as you've written it, you're thinking about how it can move into different mediums.
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I'm not thinking about the next record really yet. I kind of want to do a bunch of stuff with Jonathan Zawada, the guy who did the album art. I'd like to do some crazy art installations and design some weird synthesizers and work with other people and make some fun stuff for a bit. Maybe tap into virtual reality stuff or maybe write another record.
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When I'm writing a book, sentence by sentence, I'm not thinking theoretically. I'm just trying to work out the story from inside the characters I've got.
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My charity is called 'Grand Kids.' People keep thinking it's 'Grandkids.'
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We teach people that they upset themselves. We can't change the past, so we change how people are thinking, feeling and behaving today.
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It's a hard thing to do, to be given a script, and know that you've got to turn up on the first day of the shoot - generally without having had any rehearsal - and present a character. It's really baffling; it's incredibly hard to know how to begin, to approach it, other than just thinking about it.
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I've never written a book with the intention of winning someone back or getting back at someone or anything like that. It's always just been about thinking about life and how relationships fit in to what life means.
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I think, for some artists, the fear of taking on a political identity stems from not wanting to be pigeonholed as political actor or a political musician. It becomes this thing where somehow your art can no longer exist on its own and be multifaceted.
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'Mudbound,' you know, is about home. 'Mudbound' is about what it means to be a citizen, and 'Mudbound,' in fact, is set in this post-reconstruction era that we haven't really explored. You know, not since 'Sounder' have we even really explored that experience.
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Cara's always been a real tomboy. She was never really that into makeup. She's very quick at it.
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I liked seventeen-year-old me, I was happy when I was seventeen. I was this troubled goth kid that wore eyeliner and make-up to school and listened to punk-rock music and I loved my friends and I started to make music - I like seventeen-year-old me.
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I like a little chaos. I think that's really true for my inner Buddha. I think I like a little nutsy. Maybe I can't take total peace.
