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It is always incorrect to assume you can know what someone's moral convictions are based on their philosophical theories.
Many people on the political left found my work psychologically liberating. They began to say: once you realize that standards emerge historically, then you can see through and discard all the norms to which we have been falsely enslaved.
I was raised in an evangelical Methodist church. Evangelical meant that though you had been baptized and made a member of the church on Sunday morning, you still had to be 'saved' on Sunday night. I wanted to be saved, but I did not think you should fake it.
The Christian fact is very straightforward: To be a student is a calling. Your parents are setting up accounts to pay the bills, or you are scraping together your own resources and taking out loans, or a scholarship is making college possible.
We have never heard of laundering in Macau; money laundering is unheard of. Mind you, my casino, every bit of money - someone says Stanley Ho, you issue me a check of so much money - we don't give that easy.
You sit at the board and suddenly your heart leaps. Your hand trembles to pick up the piece and move it. But what chess teaches you is that you must sit there calmly and think about whether it's really a good idea and whether there are other, better ideas.
If you can talk brilliantly about a problem, it can create the consoling illusion that it has been mastered.
It's crazy how you can get yourself in a mess sometimes and not even be able to think about it with any sense and yet not be able to think about anything else.
Any time you take a chance you better be sure the rewards are worth the risk because they can put you away just as fast for a ten dollar heist as they can for a million dollar job.
Anyone who has ever been privileged to direct a film also knows that, although it can be like trying to write 'War and Peace' in a bumper car in an amusement park, when you finally get it right, there are not many joys in life that can equal the feeling.
Writing, of course, is writing, acting comes from the theater, and cinematography comes from photography. Editing is unique to film. You can see something from different points of view almost simultaneously, and it creates a new experience.
Among a great many other things that chess teaches you is to control the initial excitement you feel when you see something that looks good. It trains you to think before grabbing and to think just as objectively when you're in trouble.
When you're making a film, you have to make most of your decisions on the run, and there is a tendency to always shoot from the hip.
It takes more discipline than you might imagine to think, even for thirty seconds, in the noisy, confusing, high-pressure atmosphere of a film set. But a few seconds' thought can often prevent a serious mistake being made about something that looks good at first glance.
If the salesperson is busy, he or she should nod and say 'I'll be with you in a few moments,' so the customer won't mind waiting.
Have the courage to face a difficulty lest it kick you harder than you bargain for.
When you read the psychedelic literature, there is a distinction between the so-called natural psychedelics and synthetic psychedelics that are artificially produced.
When you jump for joy, beware that no one moves the ground from beneath your feet.
You climb to reach the summit, but once there, discover that all roads lead down.
There is only one Army in which you serve. When that identity is gone, it is gone forever.
It is crucial for scientists to be willing to be wrong; otherwise, you might not do the most important experiments, or you may ignore your most important findings.
The only defense is offense, which means that you have to kill more women and children more quickly than the enemy if you wish to save yourselves.
You will find in politics that you are much exposed to the attribution of false motive. Never complain and never explain.
Let us never forget this: since the day of the air, the old frontiers are gone. When you think of the defense of England you no longer think of the chalk cliffs of Dover; you think of the Rhine. That is where our frontier lies.
Since the day of the air, the old frontiers are gone. When you think of the defense of England you no longer think of the chalk cliffs of Dover; you think of the Rhine.
I particularly felt that my job in management was safe from the incursion of machines with friendly faces painted on the front of their heads, or whatever you call the metal constructions atop their shoulders, if those are indeed shoulders.
When you win a Grammy, it links a certain prestige and importance to you, you know? People want to talk to you.
You can disseminate your art, and it's all such easy access now. The upside to it is that more people are creating than ever before.
It's very difficult sometimes having bands, you know, when all the members aren't on the same page.
You can actually go to school and college to learn how to play and get technical with the electric bass.
You'd never know that listening to people in the UN but tribalism is the father of racism.
The high point of civilization is that you can hate me and I can hate you but we develop an etiquette that allows us to deal with each other because if we acted solely upon our impulse we'd probably go to war.
As you know from reading many of these Negro writers, we don't deal too much with the discussion of democracy and what it means and how improvisation fits in all that.
You can meet a young person who goes to school and is really enthusiastic, but if a sufficiently strong personality convinces them that this is a waste of time, that person might flunk out.
Your ethnic or sexual identity, what region of the country you're from, what your class is - those aspects of your identity are not the same as your aesthetic identity.
When you're artistic director of a program, you present the music you want to present.
I wanted to get to that aesthetic proposition that comes out of learning the human elements of a world, so that those notes and rhythms mean something to you besides just the academic way in which they fall in place.
You know, sound was still a fairly new thing when I came into movies. And the reason musicals happened is because of sound. They could put music in the picture! That's how it all began.
It was very hard to make 'Funny Face' in Paris because making movies is difficult and making a movie in a city that was glorious, that was unique and surprising, to get it, to put it on film you have to make choices and reject a lot of things so you're always wondering: 'Am I doing it right?'
People always say to me, 'You have such a clearly defined sense of style,' and when I hear it, I get crazed, because what I hear - and I know they mean it as a compliment - is that I have such a narrow vision that I can't get out of it.
You see, it took me so long, it was such a struggle, to move myself out of musicals - because I had had a success, nobody wanted to allow me to direct a non-musical picture. It was so hard. And the only way I could get it going was to become a producer myself.
For years, kids have been asking me what's the greatest superpower. I always say luck. If you're lucky, everything works. I've been lucky.
My mother was the greatest mother in the world. She thought I was the greatest thing on two feet. I'd come home with a little composition I had written at school, and she'd look at it and say, 'It's wonderful! You're another Shakespeare!' I always assumed I could do anything. It really is amazing how much that has to do with your attitude.
A lot of hitters stay away from the plate, some are close up, some are forward, some are back. The thing about hitting is this: You have to know the strike zone. That's the most important thing. Hit strikes and put the bat on the ball.
Used to be bats had thick handles and a big barrel. Then they found it's not the size of the bat that gets home runs - it's the speed with which you can swing it.
The first principle of contract negotiations is don't remind them of what you did in the past - tell them what you're going to do in the future.
As a tennis player, you have to get used to losing every week. Unless you win the tournament, you always go home as a loser. But you have to take the positive out of a defeat and go back to work. Improve to fail better.
When you win a big title like the French Open, it's tough. The emotion in doing this is really up and down. Afterwards, you feel a little bit lonely, a bit of depression mentally. Because it's so much stress and emotion, so many people around - and then it's completely empty.
I was a little bit lost in my head after winning a Grand Slam. You're like: 'So what's the next goal? What do you want now? Where do you want to be? It's not a problem if you lose.'
You can't underestimate rest. Sometimes in tennis we don't realize that to rest your body is as important as it is to practice. We are traveling so much, all year, in different conditions, different courts, different surfaces, different balls - so we always have to adapt.
Tennis is a big puzzle. It's not any more physical or mental; you have to have all the pieces first, and then you have to put all the pieces together. For me, it took me time.
It doesn't matter the way you're playing, especially the beginning of a grand slam. It doesn't change anything.
If you start to hesitate with your game, if you start to not go completely with your plan, then it's tough to play your best tennis.
When you don't play those big matches for a few years, it's tough to play back-to-back after that.
As far as fitness is concerned, you have to enjoy it, do good exercises, and integrate them into your tennis practice. The preparation for the season is as crucial as doing good blocks when switching from one surface to another.
Stress is part of your career. You have to accept it and deal with it because there is a lot of emotion in tennis.
Those big matches, when you go through so much, are the best thing. Those matches are why you play tennis.
You have to make sacrifices. You have to work out, to be relaxed in your mind, to focus on what you're doing.
I enjoy putting myself in situations where you are nervous, but you need to enjoy yourself also. I've done skydiving, bungee jumping. I quite like those sensations - when you feel a little bit nervous and you don't really know where you are going. It's a quite good sensation that I love. I like the speed; I like everything.
There's only really one way to be at the top, and that's practicing - practicing well and practicing hard. And enjoying what you do, because if you don't enjoy it then, it's always tough to wake up and go practice and suffer on the court.
There is always disappointment, heartache. You are losing almost every tournament. You need to just accept it and be positive because you are going to lose and fail. We're not all Nadal or Djokovic, who can win most tournaments.
You always need to try hard to find solutions. It's the same in life or tennis.
Doubt can be good because it means you want to improve: you want to be a better person, a better player. But it's also good not to have too many doubts on the court.
All you can do is trust your game and not wait for the opponent to give you the match.
Playing a best of five-set match, you can always bounce back, even if you lose the first set.
I was named for my grandmother. It's an evil-eye name, to protect you from bad things.
People ask 'How do you get so eh-ish?' I don't know if it's just because so much of my family still lives in Canada and I finished studies up there.
People in life take on certain stories and say, 'I'm going to be defined by this story and I'm going to live up to every inch of this story.' Sometimes you realize the story isn't fulfilling you and in fact you're not living the life that you're given.
I love accents; I would love to find more characters with a variety of vocal intonations. It creates a character. It's like you're singing a song. Some people find their character through walking or movement - for me, voice is one of the ways I find parts of the character.
When I was 16, I was in Boston and some friends said, 'You want to go to New York?,' I went with my roommate... These guys said, 'We're going to this club. Just don't go in the washroom.' It was CBGB. I had no idea what it was or the history of all the music. All I knew was this was my first 21-and-over club and I managed to get in!
In my line of work, someone may say, 'Guess what? You've got to be on a plane in two hours.' So I keep a toothbrush and toothpaste on me.
If a white man had land, and some one should swindle him, that man would try to get it back, and you would not blame him.
What we know about Cleopatra's looks is based purely on her coin portraits. Engraving was imperfect, and that when you are a ruler and you ask for a coin to be engraved with your likeness on it, you are probably trying to project a certain air of authority.
Here you have an incredibly ambitious, accomplished woman who comes up against some of the same problems that women in power come up against today. Cleopatra plays an oddly pivotal role in world history as well; in her lifetime, Alexandria is the center of the universe, Rome is still a backwater.
I think with every book you realize you are partway through and there is something really elementary that you should have researched.
You have to scuba dive in the Alexandrian harbor if you want to see what remains of the lighthouse of Cleopatra's day, and the water in the Alexandrian harbor is not really something you want to come into contact with.
The desk thing is a problem for me. The ideal one would be vast and perfectly clear. Yet the bane of the biographical existence is paper; if you're 'an artist under oath' you're writing from a mountain of documentation.
Cleopatra had one great advantage. She lived at a time when female sovereigns were not anomalies. And when women enjoyed rights they would not again enjoy for another 2,000 years. You could call them early feminists, if I may use a dirty word.
Reality does not easily give up meaning; it's the biographer's job to clobber it into submission. You're meant not only to tame it but to extract substance, to identify cause and axiomatic effect. You subsist on the tactical omissions, the hollow words, the oddly unconnected dots.
Life-writing calls for any number of dubious gifts: A touch of O.C.D., a lack of imagination, a large desk, neutrality of Swiss proportions, tactlessness, a high tolerance for archival dust. Most of all it calls for an act of displacement. 'To find your subject, you must in some sense lose yourself along the way,' is Richard Holmes's version.
Have you ever been married? Had that thing of someone calling you by a name not your own? It's unsettling. It's like a fictitious person.
I went out to the desert where Cleopatra camped out with her mercenary army. It's a desolate outpost. Nothing has changed since her day. You realize how far she had to travel. Not only is it a good 150 miles against the current, you can't take a ship.
Comfort zones are plush lined coffins. When you stay in your plush lined coffins, you die.
You have to prove that the Freberg way will sell their product better than if they just did straight advertising. Whenever I give a lecture or seminar, that's what I try to get across to people. I hear very few radio commercials that sound like I could have written them or that they got the idea.
I came from an era when we didn't use electronic instruments. The bass wasn't even amplified. The sound was the sound you got.
If you like an instrument that sings, play the saxophone. At its best it's like the human voice.
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