Quotes About Ambiguity

As with all the strategies in this book, we must recognize that no strategy can turn us into perfectly rational actors. In addition, we can make the best possible decisions and still not get the result we want.

To convey my predicament, I never resorted to descriptive terms or expressions such as "I'm expecting," "pregnant" or "pregnancy." They endorsed a future event that would never materialize. There was no point naming something that I was planning to get rid of. In my diary I would write, "it" or "that thing," only once "pregnant.

Es interesante, en realidad!… En el momento actual no podemos saber qué, con el tiempo, llegará a tenerse por importante y qué por lastimoso y ridículo.

It is a lovely hell, but hell nonetheless.

Ni Annie M. ni Frédérique L. ne m'ont parlé de mon amour « russe » au téléphone et ce silence est pour moi comme le signe qu'elles savent que cette histoire est finie (bien qu'objectivement je ne voie pas comment elles pourraient savoir).

On découvrait le "nouveau roman", Butor, Robbe-Grillet, Sollers, Sarraute, on voulait l'aimer mais on ne trouvait pas en lui assez de secours pour vivre.

Il devient quelque chose de déjà perdu, et je souffre moins. De tout. Comme de son silence. « Je t'appellerai dès que je rentre. » Mais sait-il le sens exact de « dès que » ? Il doit être rentré hier. Tout de même. Dominique L. me parle de La Havane : il y a des boîtes de nuit, petites, où il fait presque noir.

I've heard some writers say things like, 'Well, I'm a professional writer. I only start books I know I can finish.' I look at it maybe the other way: I only want to write books I'm not sure I can write.

I guess professionally I've left my gender open to artistic interpretation.

I went to a British Council event a while back and there were lots of German professors of literature. About half of them were convinced I had a German sense of humour and the other half were sure it was British. They are probably still arguing about it now.

'Apocalypse Now' poses questions without any attempt to provide definitive answers, and the film's profound ambiguities are integral to its enduring magic.

I really had no program or any established plan. I didn't even ask myself if I should sell my paintings or not.

It was about a football program that brought in massive amounts of money. They're going to try to cover something up, because it's about money at the end of the day. That's clear. There's no ambiguity to that. Paterno is much more complicated and contradictory, and that's why he's interesting to me.

It's really impossible to project ahead even six months in this business.

I was hired to do this one great script called 'Cap'n Ricky' and that project is up in the air at the moment.

My favorite actors are people who I don't know anything about, and I can project any character onto them.

We'll see if we ever do another Ministry gig again or not. I'm not saying yes or no yet. All I'm saying is I know there's no new Ministry studio CDs coming ever again. I promise.

I'm not the apocalypse nor the promised land.

There's no safety in anything, but in the arts, there is really this idea of no promises. I didn't follow the writing dream for safety.

These films however, have ambiguity built into them, because it's too easy in film to make a strident work of propaganda or advertising, which are really the same thing anyway, meaning the message is unmistakable.

With a lot of projects, you never know if it's going to be executed properly. And also, you never know if people are going to respond to it.

It's very difficult to decide. And I'm very open to proposals.

Having been raised by actors who love moral ambiguity and flawed protagonists, I feel like it's sort of in the blood to want to take it on.

Now that copyrights can be just about a century long, the inability to know what is protected and what is not protected becomes a huge and obvious burden on the creative process.