Quotes About Interpretation

Nothing in this world compares to writing and being read.

Happy or unhappy, families are all mysterious. We have only to imagine how differently we would be described – and will be, after our deaths – by each of the family members who believe they know us.

You keep using that word. I do not think it means what you think it means.

Everything has its beauty, but not everyone see its.

"I've seen a look in dogs' eyes, a quickly vanishing look of amazed contempt, and I am convinced that basically dogs think humans are nuts."

It is also difficult to articulate the subtleties in cinema, because there aren't words or metaphors which describe many of the emotions you are attempting to evoke.

Without context words and actions have no meaning at all

I think it's really the job of the composer, the artist, the painter, the writer to present people with options. I'm just really reflecting the thoughts and actions around me.

We are going to learn more by what we see than by what we hear. Our actions speak so loudly that we don't have to say a word.. Words only account for about seven percent of our communication.

Our actions are like blank rhymes, to which everyone applies what sense he pleases.

If I lost the ability to speak, what would my life be saying?

The sound of the words as they're said is always different from the sound they make when they're heard, because the speaker hears some of the sound from the inside

It is not what you say that matters but the manner in which you say it; there lies the secret of the ages.

You can free yourself from aging by reinterpreting your body and by grasping the link between belief and biology.

Poets, not otherwise than philosophers, painters, sculptors, and musicians, are, in one sense, the creators, and, in another, the creations, of their age.

The primary function of the creative use of language - in our age - is to try to constantly restore words to their meanings, to keep the living tissue of responsibility alive.

Enough if every age produce two or three critics of this esoteric class, with here and there a reader to understand them.

A great age of literature is perhaps always a great age of translations.

The poverty line is like the age of consent: if you find yourself parsing exactly where it is, you've probably already done something very, very wrong.

Critics search for ages for the wrong word, which, to give them credit, they eventually find.

He who stands most remote from his age is he who mirrors it best.

The absolutist takes himself to speak to the ages, with the tongue of angels, but the relativist hears only one version among others, the subjectivity of the here and now.

One age misunderstands another; and a petty age misunderstands all the others in its own ugly way.

Postmodernism surely requires an even greater grasp of symbolism, as it's increasingly an art of gesture alone.