Thinking Quotes
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The economy in the next 20 to 25 years is going to change more than they did in the last 20, 25 years. And that's because exponential trends are affecting a bigger and bigger share of the economy. So we have some huge disruptions in store, and I can't predict exactly what the innovations are going to be. If I did, I would have already invented them. But I think they'll be comparable to the innovations we saw in the past 20, 25 years if not greater.
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There were times Ruma felt closer to her mother in death than she had in life, an intimacy born simply of thinking of her so often, of missing her. But she knew that this was an illusion, a mirage, and that the distance between them was now infinite, unyielding.
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The Buddhas had to be destroyed by the Taliban to get the world thinking about Afghanistan.
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Sometimes I think I disguise myself as a teacher in order to make the pictures I need to see.
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I write at the piano, so I write things that fit comfortably under my hands, and I'm not thinking in terms of any specific compositional methods. I'm just seeking sounds.
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I love feeding off the audience, and to me, what's the point if you're not going to think of the fans. Anyone can play music in their house, but you put it out because you want interact with your fans. And, as an artist, you get so much from your fans.
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Part of my gradual education of myself has been to think that there is a deep relationship between the nature of the creature and the worth of the art.
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And yet I think of Christopher Reeve who said he would pay two million dollars to be able to feel pain again. What a courageous man! So I have to think that pain is a blessing.
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I think one of the greatest losses to humanity was the domination of women. I think every religious system has found ways to be kind to them in a kind of subordinate way. Very patronizing, very colonial. But if you start looking at the fabric of society, even religious systems, they would fall apart if it wasn't for the embedded ability of the women who are involved.
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I came upon a doctor who appeared in quite poor health. I said, 'There's nothing that I can do for you that you can't do for yourself.' He said, 'Oh yes you can. Just hold my hand. I think that that would help.' So I sat with him a while then I asked him how he felt. He said, 'I think I'm cured.'
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Half voluntarily, half Winston's older brother [William] would take me in, saying, "Daddy, I think you oughta do this." And I'd say, "I think you're right, maybe I do need it." Sometimes a week later I'd leave the place; sometimes I'd stick it out for a month.
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If you're gonna tell a story from beginning to end, I always think you have to have a great structure in a script. If it gets you excited and it's something you've never read before that's another plus. I think also with improv and that whole world of stand-up, that's a whole other organism of comedy that still needs a story, but it's more free-form. On the set, it is the combination of both those worlds coming together: a great script and an allowance to play with it.
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I think if a writer is not endeavoring to expand and alter consciousness in himself and in his readers, he is not doing much of anything. It is precisely words, word lines, lines of words and images, and associations connected with these word and image lines in the brain, that keep you in present time, right where you are sitting now.
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When you're writing with someone else it helps you think of things you never would've thought of.
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The precise laziness is akin to letting your eyes blur or glimpsing what's at the corners in peripheral vision. Or those moments when you think you see something but you're not sure you actually saw it in the end. The way I get to these places is just practice, like a kind of meditation that shapes my brain.
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I think I am the most impressed with writing styles that defy category, like Kharms or Selby, Breton or Jarry, where you become as interested in the writer as much as the writing itself. It's all these things that make reading so appealing to me.
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People cannot change their tidying habits without first changing their way of thinking.
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A young choreographer often gets hung up on thinking they have to have all the answers. As a choreographer ages, they realize that they're more of a steward to movement. We mold movement and curate and form it into plausible and understandable stories.
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But for us to assume that God could not act in other ways is, I think, to put God in an awfully small box.
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I used to watch some F1 races but I was never straightaway thinking 'that is what I want to do.'
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Obviously, ["Fences"] is a character-driven piece in every sense of the word, and Denzel [Washington] knows the actor. He gave us two weeks of rehearsal. He is a truth teller, and he is a truth seer. So he knows when something is not going in the right direction, and he will call you on it. But, he knows the word to use to unlock whatever is blocking you. So I think he's fabulous and he's a teacher.
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With the right sources of funding and some smart, strategic thinking about how to force non-banks to follow the same rules as other lenders, the entire landscape of consumer lending would change.
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The best part of writing is thinking about the story. And then everything else takes a lot of discipline.
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Poetry challenges you. Much of its importance is that it's one of the few places left in culture that makes things difficult-it asks you to think, to perceive and not to take for granted what we think about the world.
