Quotes About Ambiguity

Football has a future. I don't know what that future is. I'm a physician.

I wanted to make pictures where you would not know who took them. I also bring the present into the past.

When you're a writer, you never know which of your pieces are going to gain a toehold and which will not, and it's best not to care too much.

I won't name any names, but I've done a couple of shows where once the pilot got picked up, the creators openly said, 'I have no idea where we're going.'

When you make a pilot, you've never seen the show before; you don't know what it is.

When you do a pilot, you can't always tell what you have.

The Gift' doesn't deal with the neat, tie-me-up-with-a-bow kind of stories - they are grittier, messier, and not all of them have a happy resolution. You are following people and events that are more difficult, more elusive, and therefore harder to pin down.

Ariel Pink never really existed because he was always Ariel Pink's Haunted Graffiti, but then people started doing interviews with Ariel Pink as if Ariel Pink existed.

You base your actions on a projected ending, which you actually don't know. However, when you reach the crucial point, and the pinnacle event doesn't occur, you just need to go on, and something else will happen.

The performances I enjoy are the ones that are hard to read or ambiguous or left-of-centre because it makes you look closer and that's what humans are like - quite mysterious creatures, hard to pinpoint.

Patton's personality was a complex one - he was obsessed with glory, but behind the ivory-hilted pistols, the egomania, the forbidding scowl, and the rows of ribbons, there was a much more ambiguous figure.

Andy was a nonverbal person; you couldn't get directions out of him. All he knew was what was modern in art was what wasn't art: The telephone was art, the pizza was art, but what was hanging on walls in museums wasn't art.

I have a wandering eye and a lazy eye so they cancel each other out. It's a push.

I think I fall into a lot of cracks in terms of I'm too something. I'm too this, I'm too that. And my music has never really had a home. I've been this floating alternative. I'm too mainstream for alternative. I'm too alternative for mainstream. And I'm just kind of wandering.

This proving of such and such I found to be almost like cheating. You start somewhere, and then you go into a dark tunnel, and then you come out at another place. You find that you have proved what you wanted to prove, but in the tunnel, you don't see anything.

I love being an enigma. Every time I'm tempted to respond to someone who tries to put me in a box, politically - you know, someone who gets on the Internet and says, you're pro-gun, or you're anti-gun - I stop and say to myself, 'This is great; this is what I wanted. I wanted to be the guy you can't figure out.'

From my very first movie, what was my concentration, my inspiration, was I didn't want to narrate something, I didn't want to tell a story. I wanted to show something, I wanted for them to make their own story from what they were seeing.

I go back and forth between wanting to be abundantly simple and maddeningly complex.

It felt to me like America was always wanting to resolve things too quickly, without thinking through what the costs and consequences would be and how that affects an individual living in that world. Then as I grew up and went about my life, I think I just got more and more interested in that gray area where things are not so easily quantified.

Counter-insurgency warfare is not a simple thing... it's not as simple as, like, good guys versus bad guys. It is a mess.

It is not the clear-sighted who rule the world. Great achievements are accomplished in a blessed, warm fog.

I guess I should warn you, if I turn out to be particularly clear, you've probably misunderstood what I've said.

The warning message we sent the Russians was a calculated ambiguity that would be clearly understood.

No one can give me advice on 'Star Wars' because nobody knows what I'm doing in 'Star Wars.'