Quotes About Talk

Sixty-five days principle photography, five-day weeks, which is the only way I'll work. With my cinematographer Russell Boyd, we take as much time as possible before pre-production, looking at stills. The next most important thing: he will come to me and talk about lenses. And I'll see his plan, which is generally great, and I might talk about how the light will be, handheld or not? I talk very freely, and try not to talk specifically, just talk around it, because it can unlock all sorts of things.

The more readings a novel has, even contradictory, the better. In journalism, you talk about what you know; you have provided yourself with records, you have gathered information, you have performed interviews. In a novel, you talk about what you don't know, because the novel comes from the unconscious. They are very different relationships with words and with the world. In journalism, you talk about trees; in the novel, you try to talk about the forest.

One thing to remember is to talk to the animals. If you do, they will talk back to you. But if you don't talk to the animals, they won't talk back to you, then you won't understand, and when you don't understand you will fear, and when you fear you will destroy the animals, and if you destroy the animals, you will destroy yourself.

"Don't talk about enlightenment," Buddha would say. He was saying don't talk about the nagual. He'd talk about how to get to it.

Every time you hear anyone talk about the Caribbean, whether it's Caribbeans themselves or people outside, there's always talk about women's bodies. Talk about this voluptuousness, this kind of stereotype of what a Caribbean person is. And I think these are stereotypes that even people inside the culture, we actually sometimes claim them and we're very proud.

I might sound like a crazy person, but that's the way I pump myself up. You know how some people are just like 'I have to talk about it'? Sometimes I'll call my husband and we'll talk about it, sometimes I have to talk to myself in the mirror. So I start talking to myself: 'You got this. Don't think of this as Sports Illustrated, just think about this as the best swimsuit campaign you've done in your life. And just kill it and own it and don't put that pressure on yourself.'

One of my rules is I generally don't talk to elected officials. It's kind of a firewall. I'll talk to staff if they have something of interest. I try to avoid talking to politicians altogether. I mean, to be honest, I don't really find them that interesting. If I want juicy information I talk to staff of the politicians.

The civilization of a country consists in the quality of life that is lived there, and this quality shows plainest in the things that people choose to talk about when they talk together, and in the way they choose to talk about them.

Boys and girls in America have such a sad time together; sophistication demands that they submit to sex immediately without proper preliminary talk. Not courting talk - real straight talk about souls, for life is holy and every moment is precious.

People cannot stand the saddest truth I know about the very nature of reading and writing imaginative literature, which is that poetry does not teach us how to talk to other people: it teaches us how to talk to ourselves. What I'm desperately trying to do is to get students to talk to themselves as though they are indeed themselves, and not someone else.

I never talk about things that don't matter. I never talk about things that are unimportant. I always talk about things that interest me.

All the subject matter I talk about isn't new; all comics talk about the same things. But it's how you talk about them or present them or what you look like up there that makes the difference between an okay comic and a great one.

I don't hide anything about my life, I talk about everything. I talk about it - all kinds of things. I've done songs about bad experiences, a couple about growing up in the ghetto and being abused, sexually. Being raped. And I talk about it.

Talk, talk, talk: the utter and heartbreaking stupidity of words.

I need you to go out and talk to your friends and talk to your neighbors. I want you to talk to them whether they are independent or whether they are Republican. I want you to argue with them and get in their face.

We didn't talk about devil on the set. My mother and I didn't talk about it. Billy Friedkin and I didn't talk about it. It was a closet subject. But it was the best thing that happened because I had no idea what I was going.

I think that having comedy where people talk the way they really talk, when you talk with your friends and whatever, it's really, it's important. Or else you're making stuff that's a little bit watered down and irrelevant.

Social media is fine, but we need to put the phones down and look somebody in the eye. Talk to your neighbor. Talk to your community. Especially talk to the one you love. It's all about connection. It's hard, but it's ultimately what gives us meaning in the world.

People don't talk to you properly. It's the way they talk to you; they dismiss you. I think it's a combination of me being a woman and a foreigner.

A lot of people talk about writing. The secret is to write, not talk.

'O Tiger-lily,' said Alice... 'I wish you could talk!' 'We can talk,' said the Tiger-lily: 'when there's anybody worth talking to."

Tris: "I was reading." Sandry: "You're always reading. The only way people can ever talk to you is to interrupt." Tris: "Then maybe they shouldn't talk to me.

Clay Felker was then - he had - to his credit, he had created New York Magazine, which was the first of the city magazines that covered the city and gave all kinds of advice and all that sort of stuff. And there were copies all over the country by the time he left. He had, however, a view of journalism that was very much, I must say, like Tina Brown's at The New Yorker. You hit 'em hard, fast, give 'em something to talk about the day after the paper comes out, as contrasted with William Shawn, who gave them something to talk about two or three years from then.

It's really good to talk about it [ hydraulic penises and prosthetic butts], and it's very gratifying when people ask us about the other aspects of the film [Swiss Army Man], but [those things] are part of the movie and they're important and hilarious, a very fun part of the movie, so there's no sense from us of not wanting to talk about that. I think it's exciting that those things exist in a film that is also very heartfelt and emotional and profound.

People talk about the pain of writing, but very few people talk about the pleasure and satisfaction.

I'm a conversationalist. I came out of a town with only 300 people. I didn't have anybody to talk to. I didn't want to talk about farming. So when I came out in the world, I started talking. Never stopped.

I don't really talk about my personal life and I don't really talk about my relationships. I'm not a big partier. I like the simplicity of my life, and I've chosen the kind of life I really want to live. I don't think my life is boring at all.

Men give love because they want sex. Women give sex because they want love. That's the difference between men and women. Ever notice how when we talk about our love lives, it's always about a man? Singular. All most of us want is one good man. But when men talk, it's about women. Plural. They want as many as they can get.

I used to hang out by the food table at parties because you don't have to talk to anybody. If you do then you can talk about the food.

I don't talk about my personal life, and I don't talk about death.

A smart couple with a healthy financial relationship is always talking about money and how they're handling it. If there's a medical emergency or a job loss, talk about it. If there's a windfall, talk about it. Your financial situation is a constantly changing thing.

People talk about how you make team spirit - is it golf days or going out drinking together? That doesn't count. When you drink, you just tell lies to each other anyway and talk rubbish.

Does any art have a practical value? People love to talk about how expensive a painting is. That's the only way we can talk about paintings in this century.

Two people in love, alone, isolated from the world, that's very beautiful. But what would they nourish their intimate talk with? However contemptible the world may be, they still need it to be able to talk together.

When I talk about the city, I talk about a city that elevates people, which is the strength of New York. We always had the ability to do that. We had the services to do that: good schools, living-wage jobs. We're moving away from that toward a two-tiered system: a small group of very wealthy people and the rest of the city, poor and working poor.

Sex is better than talk. Ask anybody in this bar. Talk is what you suffer through so you can get to sex.

That is the way we decided to talk, free and easy, two young men discussing a boxing match. That was the only way to talk. You couldn't let too much truth seep into your conversation, you couldn't admit with your mouth what your eyes had seen. If you opened the door even a centimeter, you would smell the rot outside and hear the screams. You did not open the door. You kept your mind on the tasks of the day, the hunt for food and water and something to burn, and you saved the rest for the end of the war.

When people talk about the singularity, when people talk about superintelligent AI, they're not talking about sentience or consciousness. They're talking about superhuman ability to make high-quality decisions.

It's entirely to do with personality, I think. There are good directors who talk a lot, bad directors who talk a lot, and good directors who don't say much and vice-versa. It just depends on whether people respond to that personality and whether people have a willingness to do something for them.

Oh, no, I think I'd die on my own. I'd be so lonely. Even at home, I'm lonely. I sit in my room and sometimes cry. It is so hard to make friends, and there are some things you can't talk to your parents or family about. I sometimes walk around the neighborhood at night, just hoping to find someone to talk to. But I just end up coming home.

We talk about orphanages, we talk about their countries and differences, and it’s a source of excitement and pride. I’ve heard Maddox explain to Zahara when they are talking about pregnancy, ‘No, Zee, remember, you were in that nice African woman’s belly. I was in that nice Cambodian woman’.

Conversations about films are always funny. I would say a majority of people want to talk about what were the more obvious successes; the big box office films. Other people wanting to be more sensitive to you want to talk about the ones that maybe didn't make a lot of money, but they think you might have a special feeling about. And then other people sometimes want to help you by suggesting that you should have done this or that in the movie, that that would have helped you a great deal in whatever capacity.

People have a good image of me. It's not these tramps who are going to tarnish my image. They should stop lying to the French people. It annoys me that people talk about 'your image'. My image is great in France. When I'm abroad, I don't even talk about it. But in France it's just these people, these parasites.

In my family there was no small talk, only talk about serious things like global politics - trying to interpret the distant political signs, looking desperately for some hope things would change. Religion was forbidden beginning in 1968, when I was born. So my communication with them was limited to issues of everyday life, which were issues of survival.

Problem talk creates problems, Solution talk creates solutions.

It's always hopeless to talk about painting - one never does anything but talk around it.

We talk too much. We should talk less and draw more.

The thing about death is that it's embarrassing. No one wants to focus on it for very long. We're happy to talk about sex all day long but no one wants to talk about the moment where it all ends.