Quotes About Ambiguity

There is always something new. But to be honest, if I was to score a goal in a World Cup, I don't know what I would do.

I like to leave a film open-ended, with a lingering feeling. I'll not do sequels of any of my films till I have subjects to explore.

Every time people try and define me, it gets battered around. I like to keep people guessing.

I don't exactly know what it means to be ready. A cake when the oven timer goes off? Am I fully baked, or only half-baked?

I'm La Flame at all times. That, at times, can be bad, at times can be good.

J.K. Rowling said Bellatrix's role was going to be significant in the last one, when I showed some reluctance in playing a tiny bit part. Up front, they said, 'You're very significant in the last one.' But significant could mean a lot of things. That could just mean a significant plot point. Doesn't necessarily equal big part.

Like all paradises, Topanga is pitched at the tipping point of promise and peril.

I'm tired of being this solemn poet of the masses, the enigma shrouded in a mystery.

The title of the movie is open to interpretation.

I've sort of heard that 'it' girl thing, but not really. Hearing it from a few people doesn't solidify it in my mind and I wouldn't know how to solidify that title. It's so elusive and what does it mean, I don't know?

I'm fine with a title that's open to interpretation.

To be honest, I have no idea what happens after my career.

To be honest, I don't know really what I do on stage.

I wish to God I was organized enough to tell you that, 'Yes, there will be 14 books, and this one will go here, and that one will go there'... but to be honest, I hardly know what I'm going to do when I get up in the morning.

I don't even know what progressive is anymore, to be honest!

Bad guys are complicated characters. It's always fun to play them. You get away with a lot more. You don't have a heroic code you have to live by.

I think what human beings need is to be able to laugh at the absurd, hold on to ambiguity, and learn to love nuance, instead of making everything one or the other, and structurally, so much of the Internet and online publishing doesn't have room for any of that.

I don't think I have any set image, and I don't want one. If I think I'm getting a particular image, I try and break it. I find it very important to keep the audience guessing and keep them on their toes.

In a sense, 'Schmidt' is the most Omaha of my films. But have I gotten it right? I'm not sure. Did Fellini get Rome right? Did Ozu get Tokyo right?

The literary story is a story that deals with the complicated human heart with an honest tolerance for the ambiguity in which we live. No good guys, no bad guys, just guys: that is, people bearing up in the crucible of their days and certainly not always - if ever - capable of articulating their condition.

Neurosis is the inability to tolerate ambiguity.

The Bible is plain that God requires moral perfection. It tells us unambiguously that God is holy and therefore cannot tolerate any hint of unholiness.

There are people who read Tolstoy or Dostoevski who do not insist that their endings be happy or pleasant or, at least, not be depressing. But if you're writing mysteries - oh, no, you can't have an ending like that. It must be tidy.

Either you're standing under your halos, eyes up to heaven, or you're munching apples in their faces and flashing your bush. I'm not even sure they know which they prefer. The best you can do is choose when you change your costume.