If you see in any given situation only what everybody else can see, you can be said to be so much a representative of your culture that you are a victim of it.
I know people who enjoy having 10 people running around and doing things for them. I don't. I feel awkward in such situations. It gives you a false sense of importance.
A signal is comprehended if it serves to make us notice the object or situation it bespeaks. A symbol is understood when we conceive the idea it presents.
Starbucks is my main fix and it's usually you people working in there - sometimes they're actually shaking. It just makes me feel horrendous because I've been in that situation.
Life is a balanced system of learning and evolution. Whether pleasure or pain; every situation in your life serves a purpose. It is up to us to recognize what that purpose could be.
You must match your energy, your vibration, with that of the universe, bringing it to a higher frequency where it synchronizes with the object, person, or situation you require.
I start drawing, and eventually the characters involve themselves in a situation. Then in the end, I go back and try to cut out most of the preachments.
During high school, I would purposely lose tennis and squash matches to escape the agony of anxiety that competitive situations would provoke in me.
Some people say that in stressful situations I can seem unflappable, and I think that's partly because I'm always kind of internally flapped.
It's interesting that people bring different things to oppressive and difficult situations, when they're reduced to the barest terms of survival. That's what provides tension in a lot of films.
The situation the Earth is in today has been created by unmindful production and unmindful consumption. We consume to forget our worries and our anxieties. Tranquilising ourselves with over-consumption is not the way.
What civilization is, is 6 billion people trying to make themselves happy by standing on each other's shoulders and kicking each other's teeth in. It's not a pleasant situation.
I think I subconsciously put myself in these situations where the girlfriend isn't pleased with me. I'm useless as a boyfriend. That's how I managed to write all these songs.
There are many films and TV shows I make where people find themselves in fantastical situations; as often as possible, their reactions to it are very normal.
I'm not sure there are a lot of things I'd want a manager for. I suppose I feel that at least the decisions I make are coming from me, and I'm not put into a situation that I wouldn't want to be in.
I'm very used to playing the tomboy or the sarcastic cynic. That's my go-to. Playing the vulnerable of a real girl that's in real womanlike situations, where it's romanticized, I'm a little nervous about it.
When I'm writing a woman character, I don't think, 'What would a woman do?' I just think, 'What would this character do in this situation?'
With my feelings, I hold a lot in, because I didn't always have boundaries and people would take advantage of situations because I'm a nice guy.
Some authors, when starting a novel, imagine a place first. Others, a character starts taking shape in their head. I start with a hook, a situation, a 'what if.'
What I realized is that the desire for making 'Places' came from the fact that I've got this strange situation with having been born in the glitter, born on the other side of the mirror that everyone fantasizes about.
Are decisions really products of analysis of a situation; or are simply out of preconceived notions? I believe, at some point of one's existence, we all are troubled by relativism!
