Honore de Balzac Quotes
[Raphael's] great superiority is due to the instinctive sense which, in him, seems to desire to shatter form. Form is, in his figures, what it is in ourselves, an interpreter for the communication of ideas and sensations, an exhaustless source of poetic inspiration. Every figure is a world in itself, a portrait of which the original appeared in a sublime vision, in a flood of light, pointed to by an inward voice, laid bare by a divine finger which showed what the sources of expression had been in the whole past life of the subject.
Quotes to Explore
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Was music my talent really? No, I don't think I was particularly talented.
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I really enjoy English and poetry and writing classes.
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A victim is a victim is a victim. We should stop setting up standards that say we will have one standard of law enforcement for one group of victims but not for another.
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We have shown that it is possible to create a radioactivity characterized by the emission of positive or negative electrons in boron and magnesium by bombardment with alpha rays.
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It's understandable why TV hasn't been diverse because a lot of TV writers are white dudes from Harvard. And white dudes from Harvard aren't going to immediately want to write about trans issues. They're not immediately going to want to write about a Filipino family.
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Capitalism is about adventurers who get harmed by their mistakes, not people who harm others with their mistakes.
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A first kiss is hard to fake on screen. It's tempting to practice before you shoot, but why blow that natural awkwardness on a rehearsal? There's something so beautiful about it that can't be faked.
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I learned this early on in the variety business: You've got to give folks responsibility, you've got to trust them, and then you've got to check on them.
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It's just a theory really, but I have always thought that your physical surroundings can shape your voice and personality.
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I love dressing up for events; to me it's almost like wearing a costume for the evening.
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This is Earth. Isn't it hot?
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Every child deserves to grow up knowing their potential and feeling confident that they won't fall at the first hurdle - that they cope with life's setbacks.
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I can tell you where I was when Kennedy was shot - which was in the common room at school. I heard about it on the old valve radio. At the time of Armstrong's landing, I was at university rehearsing a play.
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People say, 'Do you ever miss being a normal teenager?'
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I have many intense friendships with artists. I don't mean we have intense one-day conversations but ongoing conversations that last in some cases for years.
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If I wanted to make spy movies for the rest of my life, that would be one thing, but I don't want to just make spy movies.
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I know I have a responsibility to the fans.
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The modern artist is working with space and time, and expressing his feelings rather than illustrating.
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I think it's reality that Iran is going to have influence in Iraq. All elements of Iraq accepted that.
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We are ending where the savages began. We have found again the lost arts of starving non-combatants, burning hovels, and leading away the vanquished into slavery. Barbarian invasions would be superfluous: we are our own Huns.
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The first two Prime Ministers whom I served, Ted Heath and Margaret Thatcher drew strikingly different lessons from the Second World War.
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When you learn to keep fighting in the face of potential failure, it gives you a larger skill set to do what you want to do in life. It gives you vision. But you can't acquire it if you're afraid of keeping score.
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The desire to work with Burrows-Charles was really to change NBC's identity, to say, "We want to be in the sophisticated-adult-comedy business."
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[Raphael's] great superiority is due to the instinctive sense which, in him, seems to desire to shatter form. Form is, in his figures, what it is in ourselves, an interpreter for the communication of ideas and sensations, an exhaustless source of poetic inspiration. Every figure is a world in itself, a portrait of which the original appeared in a sublime vision, in a flood of light, pointed to by an inward voice, laid bare by a divine finger which showed what the sources of expression had been in the whole past life of the subject.
