Quotes About Text

You sit there, and you argue and you argue, and you sort of bully the hell out of the text until you're quite sure what it's revealing, and then you perform it.

I think we shouldn't be shy of thinking that we can interpret text like a movie again, depending on the point of view and what we do with it more than anything else. Of course a lot of remakes of important films, particularly of horror films, they suck.

One of the cool things about getting to audition for things on short notice is that it teaches you to memorize efficiently. So I've never been afraid of getting text down quickly.

I'm still a bit of a reading glutton, I think, because I browse, read a bit of the back copy, flip through the book, read a bit of the text, and if it still seems fascinating, I read it. That's why my bedside table is so cluttered: I want to imbibe it all.

When 'The Master' came around, they said they wanted to try and find a part for me, and I got a text from the casting director saying that.

I respect the fact that a director has studied the text and the road map of work before us, the subtleties, interconnections, underpinnings... His job is to paint the entire picture and knows all the colors that have to be in it.

The first text I ever got was somebody breaking plans on a first date. That was, like, the worst way to be introduced to a new technology is with rejection.

The silent movie is an emotional cinema: it's sensory; the fact that you don't go through a text brings you back to a basic way of telling a story predicated on the feelings you have created.

The one text that most changed my opinion on criticism was probably Freud's 'Interpretation of Dreams,' which I read in college.

Most of my life's information is public. I got a text one day from a hacker who texted me all of my credit card information.

Values that I would be enforcing if I were a judge are not just my values, that I am not striking something down simply because I don't like it. That is a countermajoritarian aspect of our system of government. I would start with the text.

What I don't find compelling is doing classical plays that everyone already knows - and people are following with the text in their hand because no one is listening.

Bhagavd Gita is a major source of inspiration for me and the spiritual text has a special role in my life.

When I release my music I will text Sharon Osborne and ask her about my songs.

Everything on mobile seems a lot quicker. You have direct access to each individual fan, and they can respond to you just as quickly as you sent a text message.

With Orff it is text, text, text - the music always subordinate. Not so with me. In 'Magnificat,' the text is important, but in some places I'm writing just music and not caring about text. Sometimes I'm using extremely complicated polyphony where the text is completely buried. So no, I am not another Orff, and I'm not primitive.

The novels take longer to write than the picture book texts, and they do take a different sort of concentration. However, a very short, simple story that works well is just as exciting to me as any longer and more complex book.

I've only auditioned for one non-culturally specific role. I went through drama school and studied classic texts and played lead roles in 'Measure for Measure' and 'The Importance of Being Earnest' alongside a very culturally diverse group of acting students. But as soon as we graduate and enter the industry, all of those roles fall away.

My texts are written like palimpsests. They are written over and over again, until I feel that a kind of metaphysical meaning can be read through the writing.

Composers need words, but they do not necessarily need poetry. The Russian composer, Aleksandr Mossolov, who chose texts from newspaper small ads, had a good point to make. With revolutionary music, any text can be set to work.

Many, many composers have only found their way to a certain form, through familiarizing themselves with texts.

I've always been a composer dependent on texts.

The only books I give up on are texts where the writer's attention is concentrated so heavily on narrative questions that his or her use of language becomes careless.

I always get super confused by the way we look at technology, because since when were all phone calls created equal? It's not like every text is the same or that all texts are human interactions that are compromised. I don't get how conduits somehow dictate sentiment.