| director |
directorLabel |
quote |
| http://dbpedia.org/resource/Takeo_Kimura |
"Takeo Kimura"@en |
""Kimura is a very unique person, a different kind of art director. He'd suddenly come up with the weirdest idea and just do it. Nikkatsu was very afraid of Kimura and me working together because they thought we might just do something really weird. Kimura makes every movie as if it were his last. And he would think 'if this is my last, then I can do anything I want.' That's why I love working with Kimura as an art director.""@en |
| http://dbpedia.org/resource/Anurag_Kashyap |
"Anurag Kashyap"@en |
""As a 19-year-old student of zoology at Delhi's Hansraj College, I had no desire to be a filmmaker. Till I watched Bicycle Thieves, a 1948 Italian film directed by Vittorio De Sica, at a film festival in Delhi in 1993. After the film got over, I decided to chuck it all and leave bag-and-baggage for Bombay to be a filmmaker.""@en |
| http://dbpedia.org/resource/Yukio_Futatsugi |
"Yukio Futatsugi"@en |
""I want to create something with permanence; something that will remain in the hearts of the group of people I made the game for; something for those who are starving for a new experience; something that will stay fresh and unique ten years after its release; something that uses graphics and sound to leave a mark in the minds of players; something that doesn't look like any other game -- that's what I want to create.""@en |
| http://dbpedia.org/resource/Bud_Tingwell |
"Bud Tingwell"@en |
"On his reasons for going to war :
:It was just that you didn't not try to go [...] You were so ... orientated towards the fact that "the War's on" and "this is the right thing to do". We also did know ... that difficult things were happening in Europe and ... we had Jewish friends who had [relatives] who had an awful time ... and refugees were arriving in Australia in the pre-war time ... We had a German family next door and they had a son-in-law who ... was a suspect[ed] ... Nazi sympathiser, so he had to ... be interned ... We knew a lot about Hitler and about Mussolini."@en |
| http://dbpedia.org/resource/Ang_Lee |
"Ang Lee"@en |
""I was never a citizen of any particular place... My parents left China to go to Taiwan. We were outsiders there. We moved to the States. Outsiders. Back to China. Now we were outsiders there, too – outsiders from America.""@en |
| http://dbpedia.org/resource/Jack_Nicholson |
"Jack Nicholson"@en |
""His work is always interesting, clearly conceived, and has the X-factor, magic. Jack is particularly suited for roles which require intelligence. He is an intelligent and literate man, and these are almost impossible to act. In The Shining you believe he's a writer, failed or otherwise.""@en |
| http://dbpedia.org/resource/Jack_Nicholson |
"Jack Nicholson"@en |
""There is James Cagney, Spencer Tracy, Humphrey Bogart and Henry Fonda. After that, who is there but Jack Nicholson?""@en |
| http://dbpedia.org/resource/Jack_Nicholson |
"Jack Nicholson"@en |
""Nicholson is the Hollywood celebrity who is most like a character in some ongoing novel of our times. He is also the most beloved of stars—not even his huge wealth, his reckless aging, and the public disasters of his private life can detract from this...For he is still a touchstone, someone we value for the way he helps us see ourselves.""@en |
| http://dbpedia.org/resource/Jason_Friedberg_and_Aaron_Seltzer |
"Jason Friedberg and Aaron Seltzer"@en |
"Yes, we all know that a lot of movies put aside the more artistic aspects of film making to solely make a profit; we're not naive. But, the films that these two directors make are so blatant at being nothing more than a juvenile finger pointing at an image or mention of a popular trend that, to me, they seem exploitive of a young culture raised to have an ever-decreasing attention span, thanks to the internet and channel surfing and, this may sound a little crazy, but, I think it shows a slight de-evolution in what people will accept as entertainment."@en |
| http://dbpedia.org/resource/Ralph_Richardson |
"Ralph Richardson"@en |
"She eloped with me, then aged four."@en |
| http://dbpedia.org/resource/Ralph_Richardson |
"Ralph Richardson"@en |
"It's very hard to define what was so special about him, because of this ethereal, other-worldly, strangely subversive quality. He was foursquare, earthy on the stage, a little taller than average height, yeasty. "As for my face," he once said, "I've seen better looking hot cross buns." But he seemed possessed of special knowledge."@en |
| http://dbpedia.org/resource/Ralph_Richardson |
"Ralph Richardson"@en |
"I was too lazy to be a painter... I hadn't the persistency – but then I hadn't got very much talent."@en |
| http://dbpedia.org/resource/Ralph_Richardson |
"Ralph Richardson"@en |
"Richardson's playing of Macbeth suggests a fatal disparity between his temperament and the part"@en |
| http://dbpedia.org/resource/Jada_Pinkett_Smith |
"Jada Pinkett Smith"@en |
"[My mother] understood what I wanted and never stood in my way."@en |
| http://dbpedia.org/resource/Jada_Pinkett_Smith |
"Jada Pinkett Smith"@en |
"I listened to all kinds of metal as a kid. Metallica, Guns N' Roses. I would always look at Axl Rose and say, "Why aren't there any chicks out there doing this now?" I always wanted an opportunity to get out there and rock out."@en |
| http://dbpedia.org/resource/Steve_McQueen_(director) |
"Steve McQueen (director)"@en |
"Steve was the first to ask the big question, 'Why has there not been more films on the American history of slavery?'. And it was the big question it took a Brit to ask"@en |
| http://dbpedia.org/resource/Rocko's_Modern_Life |
"Rocko's Modern Life"@en |
""I think what set the [1990s] apart was the fact that the climate was ripe for people taking chances and doing different things. Both Nick and Cartoon Network were able to invest on people who had nothing to lose. Of course, the result of that was that there was a big explosion in the scene. There were big successes—like that yellow sponge that popped up in a big way—and with that success came another era where people aren't apt to take as many chances because the stakes are too high.""@en |
| http://dbpedia.org/resource/Steve_Nash |
"Steve Nash"@en |
"My heroes were Isiah Thomas, Michael Jordan, Magic Johnson. I think they were just so competitive and creative. Especially Isiah, he was somebody that wasn't very tall. He had played the game mostly on the floor and it made me feel that I could find a way to do the same."@en |
| http://dbpedia.org/resource/Matt_Stone |
"Matt Stone"@en |
"We were sleeping on floors thinking, Wow, another two weeks and we're going to be fucking rich. And pretty soon two weeks turns into two months, and two months turns into two years, and you definitely stop listening."@en |
| http://dbpedia.org/resource/Nouchka_van_Brakel |
"Nouchka van Brakel"@en |
"That's what I see all around me: women, after a setback, always try to pick up the pieces again. They have an eternal creativity. If war comes, they tuck their child under their arm and walk to the next refuge. They keep on going. Women have unbelievable strength and stubbornness and joy of life. If they ever quit doing what they do, the place would be a mess. Men wage war and cheer and hold meetings. All those suits, if you open up the newspaper, nothing but men in suits."@en |
| http://dbpedia.org/resource/Leena_Manimekalai |
"Leena Manimekalai"@en |
""The making of White Van Stories was not a scripted journey. It was rather mystical. Maybe my constant urge to tell stories that otherwise had been forgotten pointed me towards that direction.""@en |
| http://dbpedia.org/resource/Leena_Manimekalai |
"Leena Manimekalai"@en |
""We always have a notion that the metropolises are open to discuss about LGBT than the rural areas. But, it is a false notion. The rural and the tribal people find it easy to share us about the topics that are usually considered taboo by the urban people""@en |
| http://dbpedia.org/resource/Pau_Masó |
"Pau Masó"@en |
""We are what we make of ourselves, what we think we are worth and most importantly, what we feel capable of achieving.""@en |
| http://dbpedia.org/resource/Victor_Cook |
"Victor Cook"@en |
""I wanted to make sure that this was an iconic Spider-man for the different generations of fans, but I also wanted to bring in a new generation of fans that had a passing interest in it. I also really wanted this to be a two dimensional Spider-man that moved like we’ve never really seen him move in animation before. I thought Sam Raimi set the bar of how he should move and I haven’t seen that in animation.""@en |
| http://dbpedia.org/resource/Shigeru_Miyamoto |
"Shigeru Miyamoto"@en |
"He approaches the games playfully, which seems kind of obvious, but most people don't. And he approaches things from the players' point of view, which is part of his magic."@en |
| http://dbpedia.org/resource/Terrence_Malick |
"Terrence Malick"@en |
"Those rambling philosophical voiceovers; the placid images of nature, offering quiet contrast to the evil deeds of men; the stunning cinematography, often achieved with natural light; the striking use of music – here is a filmmaker with a clear sensibility and aesthetic who makes narrative films that are neither literary nor theatrical, in the sense of foregrounding dialogue, event, or character, but are instead principally cinematic, movies that suggest narrative, emotion, and idea through image and sound.
:Chris Wisniewski about Days of Heaven and The New World"@en |
| http://dbpedia.org/resource/Terrence_Malick |
"Terrence Malick"@en |
"More than any other active filmmaker Mr. Malick belongs in the visionary company of homegrown romantics like Herman Melville, Walt Whitman, Hart Crane and James Agee. The definitive writings of these authors did not sit comfortably or find universal favor in their own time. They can still seem ungainly, unfinished, lacking polish and perfection. This is precisely what makes them alive and exciting: Moby-Dick, Leaves of Grass, The Bridge and A Death in the Family lean perpetually into the future, pushing their readers forward toward a new horizon of understanding.
:A. O. Scott in review of The Tree of Life"@en |
| http://dbpedia.org/resource/Barbra_Streisand |
"Barbra Streisand"@en |
""I'm impressed with her choosing Yentl; it was extraordinary. But for some reason, Hollywood turned against her...there was a lack of sympathy toward her...Christ, she could have played Cleopatra better than Liz Taylor, with her enormous power and the subtlety of her singing...She is one of the great actresses and she hasn't been well used.""@en |
| http://dbpedia.org/resource/Beyoncé |
"Beyoncé"@en |
"With "Single Ladies", clearly I'd just gotten married, and people want to get married every day—then there was the whole Justin Timberlake thing [recreating the video] on "Saturday Night Live", and it was also the year YouTube blew up. With 'Irreplaceable,' the aggressive lyrics, the acoustic guitar, and the 808 drum machine—those things don't typically go together, and it sounded fresh. 'Crazy in Love' was another one of those classic moments in pop culture that none of us expected. I asked Jay to get on the song the night before I had to turn my album in – thank God he did. It still never gets old, no matter how many times I sing it."@en |
| http://dbpedia.org/resource/Bruce_Springsteen |
"Bruce Springsteen"@en |
""I spent most of my life as a musician measuring the distance between the American dream and American reality.""@en |
| http://dbpedia.org/resource/Bruce_Springsteen |
"Bruce Springsteen"@en |
""This was different, shifted the lay of the land. Four guys, playing and singing, writing their own material ... Rock 'n' roll came to my house where there seemed to be no way out ... and opened up a whole world of possibilities.""@en |
| http://dbpedia.org/resource/Kirk_Douglas |
"Kirk Douglas"@en |
""Kirk is one of a kind. He has an overpowering physical presence, which is why on a large movie screen he looms over the audience like a tidal wave in full flood. Globally revered, he is now the last living screen legend of those who vaulted to stardom at the war's end, that special breed of movie idol instantly recognizable anywhere, whose luminous on-screen characters are forever memorable.""@en |
| http://dbpedia.org/resource/Neil_Young |
"Neil Young"@en |
""Neil bopped down Yonge Street. Very thin, very tall, with a greased-back D.A. on the sides but a crew cut on top.  Very slick-lookin' guy.""@en |
| http://dbpedia.org/resource/Neil_Young |
"Neil Young"@en |
"80.0"^^<http://dbpedia.org/datatype/second> |
| http://dbpedia.org/resource/Patrick_Stewart |
"Patrick Stewart"@en |
"I believed that no woman would ever be interested in me again. I prepared myself for the reality that a large part of my life was over."@en |
| http://dbpedia.org/resource/Patrick_Stewart |
"Patrick Stewart"@en |
"It really wasn’t until the first season ended [when] I went to my first Star Trek convention ... [I] had expected that I would be standing in front of a few hundred people and found that there were two and a half thousand people and that they already knew more about me than I could ever possibly have believed."@en |
| http://dbpedia.org/resource/Patrick_Stewart |
"Patrick Stewart"@en |
"[London theatre] critics ... have showered him with perhaps the highest compliment they can conjure. He has, they say, overcome the technique-destroying indignity of being a major American television star."@en |
| http://dbpedia.org/resource/Steven_Seagal |
"Steven Seagal"@en |
""The lawsuit filed by Kayden Nguyen against Steven Seagal is a ridiculous and absurd claim by a disgruntled ex-employee who was fired for using illegal narcotics.""@en |
| http://dbpedia.org/resource/Theo_Angelopoulos |
"Theo Angelopoulos"@en |
"Theo Angelopoulos is a masterful filmmaker. He really understands how to control the frame. There are sequences in his work—the wedding scene in The Suspended Step of the Stork; the rape scene in Landscape in the Mist; or any given scene in The Traveling Players—where the slightest movement, the slightest change in distance, sends reverberations through the film and through the viewer. The total effect is hypnotic, sweeping, and profoundly emotional. His sense of control is almost otherworldly."@en |
| http://dbpedia.org/resource/Michael_Cera |
"Michael Cera"@en |
""Arrested Development never felt safe. Even the first season, we did thirteen episodes, and we thought we'd never do a back nine. So I never thought in a million years we'd get to make three seasons. I was happy we got that far. I thought it was really good, and I'm really proud of it. I don't think we made a bad episode.""@en |
| http://dbpedia.org/resource/Maya_Angelou |
"Maya Angelou"@en |
"To know her life story is to simultaneously wonder what on earth you have been doing with your own life and feel glad that you didn't have to go through half the things she has."@en |
| http://dbpedia.org/resource/Maya_Angelou |
"Maya Angelou"@en |
"All my work, my life, everything I do is about survival, not just bare, awful, plodding survival, but survival with grace and faith. While one may encounter many defeats, one must not be defeated."@en |
| http://dbpedia.org/resource/Maya_Angelou |
"Maya Angelou"@en |
"And Angelou's life has certainly been a full one: from the hardscrabble Depression era South to pimp, prostitute, supper club chanteuse, performer in Porgy and Bess, coordinator for Martin Luther King Jr.'s Southern Christian Leadership Conference, journalist in Egypt and Ghana in the heady days of decolonization, comrade of Malcolm X, and eyewitness to the Watts riots. She knew King and Malcolm, Billie Holiday, and Abbey Lincoln."@en |
| http://dbpedia.org/resource/Thomas_Schlamme |
"Thomas Schlamme"@en |
""You almost never see how anyone travels from point A to point C [in most TV shows]. I wanted the audience to witness every journey these people took. It all had a purpose, even seeing them order lunch. It just seemed to be the proper visual rhythm with which to marry Aaron's words. I got lucky that it worked.""@en |
| http://dbpedia.org/resource/Jose_Antonio_Vargas |
"Jose Antonio Vargas"@en |
"I define "American" as someone who works really hard, someone who is proud to be in this country and wants to contribute to it. I'm independent. I pay taxes. I'm self-sufficient. I'm an American, I just don't have the right papers. I take full responsibility for my actions, and I'm sorry for the laws that I have broken."@en |
| http://dbpedia.org/resource/Oliver_Stone |
"Oliver Stone"@en |
"I make my films like you're going to die if you miss the next minute. You better not go get popcorn."@en |
| http://dbpedia.org/resource/Samuel_Fuller |
"Samuel Fuller"@en |
""Shelve the film without letting anyone see it? I was dumbfounded. It's difficult to express the hurt of having a finished film locked away in a vault, never to be screened for an audience. It's like someone putting your newborn baby in a goddamned maximum-security prison forever ... Moving to France for a while would alleviate some of the pain and doubt that I had to live with because of White Dog.""@en |
| http://dbpedia.org/resource/Charles_B._Pierce |
"Charles B. Pierce"@en |
"I really didn't want to do Boggy Creek II. I think it's probably my worst picture. This time, I spent almost as much on the creature suit as I did on the film itself. ... I played too big a role in the picture, and I had too many of my friends in it. It's all right, but it's not one of my favorites."@en |
| http://dbpedia.org/resource/Charles_B._Pierce |
"Charles B. Pierce"@en |
"He really did change the face of filmmaking. With his model, many filmmakers became successful with the drive-in creature feature, so to speak."@en |
| http://dbpedia.org/resource/Charles_B._Pierce |
"Charles B. Pierce"@en |
"I didn't want to do another Boggy Creek, not for a while. I was still trying to prove myself as a filmmaker; I didn't want to have to turn around and shoot the same thing all over again. I wanted to do something different."@en |
| http://dbpedia.org/resource/Charles_B._Pierce |
"Charles B. Pierce"@en |
"I've always said that to be a decent director, you had to play well as a kid. I played cowboys and Indians and cars, built stick bridges and roads."@en |
| http://dbpedia.org/resource/David_Mirkin |
"David Mirkin"@en |
""I realized that I had kind of 'done' the multi-camera sitcom. I had done every aspect of the multi-camera sitcom and I was chafing at its limitations. I'd always been a big film freak, into cool camera movement, special effects and different styles of storytelling, different genres, so I very sadly came to the realization that I couldn't do a normal sitcom for the rest of my life where your characters simply congregate around an office desk or living room sofa. Here I had my dream, dream, dream dream job, which was kind of a Mary Tyler Moore Show with Bob Newhart, and I realized, to my horror, that I could only do that for four years.""@en |
| http://dbpedia.org/resource/Hank_Azaria |
"Hank Azaria"@en |
""[Azaria's] appeal can best be summed up by, of all things, his hilarious cameo in the goofy comedy Dodgeball. As Patches O'Houlihan, the dodgeball champion who will age into the magnificently gruff Rip Torn, he delivers a pitch-perfect performance in an instructional video in which he chain-smokes, encourages a child to pick on those weaker than him, and steals the film from a cast of comedic greats. It's a wonderful, odd moment that could have failed miserably in the hands of a lesser actor, and he manages to pull it off with only seconds of dialogue. In my humble opinion, and using my limited knowledge of boxing terms: Pound for pound, Hank Azaria is the best actor working today.""@en |
| http://dbpedia.org/resource/Jacques_Rivette |
"Jacques Rivette"@en |
""Obviously we—the Cahiers team, with Truffaut as chief spokesman—were responsible for this myth. But we were writing at a time when polemics, shock statements like 'Anyone can make a film', were a necessary reaction against the rigid stratification which was then strangling cinema...since 1959 and the birth of the New Wave, all these attitudes have been taken much too literally" — Rivette, about the myth of the auteur theory in 1963."@en |
| http://dbpedia.org/resource/Jacques_Rivette |
"Jacques Rivette"@en |
""Time was, in a so-called classical tradition of cinema, when the preparation of a film meant first of all finding a good story, developing it, scripting it and writing dialogue; with that done, you fond actors who suited the characters and then you shot it. This is something I’ve done twice, with Paris Belongs to Us and The Nun…What I have tried since – after many others, following the precedents of Rouch, Godard, and so on – is to attempt to find, alone or in company…, a generating principle that will then, as though on its own , develop in an autonomous manner and engender a filmic product from which, afterwards, a film destined eventually for screening for audiences can be cut, or rather 'produced.'" — Rivette shortly after finishing L'amour fou."@en |
| http://dbpedia.org/resource/Yoshiaki_Koizumi |
"Yoshiaki Koizumi"@en |
"If you think about games only as a thing that you interact with, you're missing the possibility of immersion. The inspirations that I tend to draw on for that all come from real life itself. Hiking on a mountain and seeing a cave and thinking about what's inside – it's that sense of wonder and excitement I want players to feel."@en |
| http://dbpedia.org/resource/Deepak_Tijori |
"Deepak Tijori"@en |
""It boils down to destiny. The box-office rules your career. After [the failure of Santaan], people put me down. That is how things always work in the industry. So I decided that unless I got a great role, I would not do the film. That is why I did Ghulam, Angaarey and Vaastav, which had tiny but good roles for me. I started doing characters which were important to the film.""@en |
| http://dbpedia.org/resource/Hurricane!_(American_Dad!) |
"Hurricane! (American Dad!)"@en |
""There were talks initially of doing a crossover with all the characters from all the shows but it became a little bit of a conundrum because you have three different staffs, each of whom is used to writing three different sets of characters. This idea of an outside force that sweeps its way through all three shows seemed like a cool way to accomplish that."@en |
| http://dbpedia.org/resource/The_Hurricane! |
"The Hurricane!"@en |
""There were talks initially of doing a crossover with all the characters from all the shows but it became a little bit of a conundrum because you have three different staffs, each of whom is used to writing three different sets of characters. This idea of an outside force that sweeps its way through all three shows seemed like a cool way to accomplish that."@en |
| http://dbpedia.org/resource/Luis_Buñuel |
"Luis Buñuel"@en |
""Luis Buñuel was there, with his thyroid eyes, the moles on his chin which I remember from so long ago when we first saw the surrealist films in the Cinémathèque,... and as he talked I remember thinking that his paleness was most appropriate for someone who spent his life in dark projection rooms... He has a sharp humor, a bitter sarcasm, and at the same time towards women a gentle, special smile"."@en |
| http://dbpedia.org/resource/Luis_Buñuel |
"Luis Buñuel"@en |
""Well, I think it was difficult for him, coping with his deafness. Some people said he was not that deaf, but I think, when you don't hear very well and when you're tired, everything sinks into a buzz, and it is very hard. French is not his language, so on Belle de Jour, I'm sure that it was much more of an effort for him to have to explain. "."@en |
| http://dbpedia.org/resource/Luis_Buñuel |
"Luis Buñuel"@en |
""Though the material is organized with masterly skill, the very conception of 'art' here seems irrelevant. It is the most profoundly disturbing film I have ever seen.""@en |
| http://dbpedia.org/resource/Luis_Buñuel |
"Luis Buñuel"@en |
""Here in Mexico, I have become a professional in the film world. Until I came here I made a film the way a writer makes a book, and on my friends' money at that. I am very grateful and happy to have lived in Mexico, and I have been able to make my films here in a way I could not have in any other country in the world. It is quite true that in the beginning, caught up by necessity, I was forced to make cheap films. But I never made a film which went against my conscinece or my convictions. I have never made a superficial, uninteresting film.""@en |
| http://dbpedia.org/resource/Luis_Buñuel |
"Luis Buñuel"@en |
""A film called L’Age d’or, whose non-existent artistic quality is an insult to any kind of technical standard, combines, as a public spectacle, the most obscene, disgusting and tasteless incidents. Country, family, and religion are dragged through the mud"."@en |
| http://dbpedia.org/resource/Luis_Buñuel |
"Luis Buñuel"@en |
""The world doesn't work like Hollywood told us it does, and Buñuel knew well that poverty's truths could not be window-dressed in any way. This film continues to provoke reactions for its unapologetic portrayal of life without hope or trust. It stands out among Buñuel's works as the moment when he broke surface and bellowed, before sinking back into the world of the privileged where his surreal view most loved to play."@en |
| http://dbpedia.org/resource/Luis_Buñuel |
"Luis Buñuel"@en |
""Luis waited for death for a long time, like a good Spaniard, and when he died he was ready. His relationship with death was like that one has with a woman. He felt the love, hate, tenderness, ironical detachment of a long relationship, and he didn't want to miss the last encounter, the moment of union.  At the end it was as he had wished. His last words were 'I'm dying'.""@en |
| http://dbpedia.org/resource/Luis_Buñuel |
"Luis Buñuel"@en |
"A few great directors have the ability to draw us into their dream world, into their personalities and obsessions and fascinate us with them for a short time. This is the highest level of escapism the movies can provide for us -- just as our elementary identification with a hero or a heroine was the lowest."@en |
| http://dbpedia.org/resource/BBC |
"BBC"@en |
""The BBC is not impartial or neutral. It's a publicly funded, urban organisation with an abnormally large number of young people, ethnic minorities, and gay people. It has a liberal bias, not so much a party-political bias. It is better expressed as a cultural liberal bias.""@en |
| http://dbpedia.org/resource/William_Shatner |
"William Shatner"@en |
"I didn't want anything to do with a group of obsessives who paid to get together to talk incessantly about a TV show that had been cancelled. It wasn't logical ..."@en |
| http://dbpedia.org/resource/William_Shatner |
"William Shatner"@en |
"I was a lot more worried about working with Walter Koenig and Jimmy Doohan, two men who have made it clear on any number of occasions that my name is generally near the top of their shit lists."@en |
| http://dbpedia.org/resource/Christopher_Nolan |
"Christopher Nolan"@en |
""As a director, I'm sort of a human lens through which everyone's efforts are focused. A big part of my job is making decisions about how all the great talent that I'm working with blends into a single consciousness""@en |
| http://dbpedia.org/resource/Christopher_Nolan |
"Christopher Nolan"@en |
""[The] difference between shooting Following with a group of friends wearing our own clothes and my mum making sandwiches to spending $4 million of somebody else's money on Memento and having a crew of a hundred people is, to this day, by far the biggest leap I've ever made.""@en |
| http://dbpedia.org/resource/Christopher_Nolan |
"Christopher Nolan"@en |
"Films are subjective – what you like, what you don't like, but the thing for me that is absolutely unifying is the idea that every time I go to the cinema and pay my money and sit down and watch a film go up onscreen, I want to feel that the people who made that film think it's the best movie in the world, that they poured everything into it and they really love it. Whether or not I agree with what they've done, I want that effort there – I want that sincerity. And when you don't feel it, that's the only time I feel like I'm wasting my time at the movies."@en |
| http://dbpedia.org/resource/Ranjan_Pramod |
"Ranjan Pramod"@en |
""There is no art in cinema. Art is in the perspective. The fate of the film mainly depends on how well people can relate to the story, how well they can identify themselves with the characters.""@en |
| http://dbpedia.org/resource/Jodie_Foster |
"Jodie Foster"@en |
""I wasn't a science prodigy or a math prodigy ... I had a prodigious life, living in a grown-up world when I was a child. But I think my abilities were about perceptiveness and they were about examining psychology and examining people and relationships. And I had instincts about adult stories that I shouldn't have known anything about. That's very different to all those really cool prodigies that can play piano. But I wouldn't change it for anything. I found, at a very young age, even though it's not my personality to be an actor, a way of expressing myself that allowed me to not be so lonely.""@en |
| http://dbpedia.org/resource/Altaf_Hussain |
"Altaf Hussain"@en |
""Perhaps the idea of Pakistan was dead at its inception, when the majority of Muslims chose to stay back after independence, a truism reiterated in the creation of Bangladesh in 1971"@en |
| http://dbpedia.org/resource/Chris_Stokes_(director) |
"Chris Stokes (director)"@en |
""I have always had a passion for writing and directing. Although I loved doing Music and music videos, my dream was to direct feature films," Stokes says. Stokes is still involved as a consultant for Omarion and Marques Houston's careers. "I felt like it was time to pass the baton down to the next generation of young music moguls such as Omarion and Marques Houston. They both have their own labels now which gives me the freedom to focus more on my Film and Television career.""@en |
| http://dbpedia.org/resource/Guillermo_del_Toro |
"Guillermo del Toro"@en |
"I cannot pontificate about it, but by the time I'm done, I will have done one movie, and it's all the movies I want.
People say, you know, "I like your Spanish movies more than I like your English-language movies because they are not as personal", and I go "Fuck, you're wrong!" Hellboy is as personal to me as Pan's Labyrinth. They're tonally different, and yes, of course you can like one more than the other – the other one may seem banal or whatever it is that you don't like. But it really is part of the same movie. You make one movie.
Hitchcock did one movie, all his life."@en |
| http://dbpedia.org/resource/David_Morrissey |
"David Morrissey"@en |
""People like to think it's a democratic process, but it's not; it's a dictatorship. As an actor I like working with strong directors, and as an actor you're a 'freak' with the control taken away. Directing gives you a real appreciation of the difficulties of other people's jobs.""@en |
| http://dbpedia.org/resource/Jafar_Panahi |
"Jafar Panahi"@en |
""When people like me do these things, we know what position we are in. We are recognized around the world and so [the authorities] cannot pressure us too much. If something happens to us, it will be reported everywhere and even here [in Iran]. We have to risk pushing the limits for those kids who are just starting off. Those who are making their first films are forced to do whatever they are told; they allow the censors to mutilate their films. If we do not stand up to the censors the conditions will be worse for the young filmmakers. This would mean that this cinema would not continue; it would be suppressed and end with the few people who make films now. A cinema can survive if it has new filmmakers and makes new films. If we don’t resist, the path will be blocked for the new filmmaker and therefore in the eyes of the next generation we will be responsible. There is no other way.""@en |
| http://dbpedia.org/resource/Techno_Destructo |
"Techno Destructo"@en |
"I would give Hunter Jackson the biggest accolades for coming up with the whole basic look of GWAR...[i]t was combining his visual and my band that turned into GWAR."@en |
| http://dbpedia.org/resource/Shironamhin |
"Shironamhin"@en |
"We believe Rabindranath himself was a cultural institute for us."@en |
| http://dbpedia.org/resource/Charlie_the_Unicorn |
"Charlie the Unicorn"@en |
""Charlie the Unicorn proves that something doesn't have to make any sense at all to earn a cultlike following. The animated adventure centers on a group of unicorns venturing to Candy Mountain — "the land of sweets and joy, and joyness" — through the guide of a liopleurodon. Created by animator Jason Steele, the pilot episode gained 46 million views, sparking a series of follow-up adventures.""@en |
| http://dbpedia.org/resource/Roger_Waters |
"Roger Waters"@en |
"I think things like "Comfortably Numb" were the last embers of mine and Roger's ability to work collaboratively together."@en |
| http://dbpedia.org/resource/David_Hoyle_(performance_artist) |
"David Hoyle (performance artist)"@en |
""The songs collectively tell some sort of story: from okay to devastation and back again. They illustrate a life lived – not an easy life, and I've sure been good at attracting trouble, perhaps both real and imagined. That is the beauty of song – uniting the fantasy with the grim reality, a Hadron Collider of emotion. However, there's also a sense of reflection, pausing to perhaps embrace a different tempo for what remains of my life.""@en |
| http://dbpedia.org/resource/David_Hoyle_(performance_artist) |
"David Hoyle (performance artist)"@en |
"86400.0"^^<http://dbpedia.org/datatype/second> |
| http://dbpedia.org/resource/David_Hoyle_(performance_artist) |
"David Hoyle (performance artist)"@en |
""If it is a comeback then it's David Hoyle who's coming back, not the Divine David. I'm convinced that the Divine David's definitely got rigor mortis. Even though I died on ice, I think the body's gone in the lime pit... At 43 I just thought, well, maybe you should just try being David Hoyle, see how it goes.""@en |
| http://dbpedia.org/resource/David_Hoyle_(performance_artist) |
"David Hoyle (performance artist)"@en |
""I would ban capitalism – the cruellest, most insulting system any so-called civilisation could choose to impose upon itself. I would declare every sentient being legally equal, i.e. plankton is equal to someone educated at Eton. And every new born individual would be issued with a global share portfolio which they may then choose to re-invest in their own education.""@en |
| http://dbpedia.org/resource/Fernando_Meirelles |
"Fernando Meirelles"@en |
""A great tragedy for the family. For a long time, it was a taboo. No one mentioned it. I was four when it happened, but I still remember him.""@en |
| http://dbpedia.org/resource/Russ_Meyer |
"Russ Meyer"@en |
"FILM PRODUCER AND DIRECTOR"@en |
| http://dbpedia.org/resource/Russ_Meyer |
"Russ Meyer"@en |
""I Was Glad to Do It""@en |
| http://dbpedia.org/resource/Russ_Meyer |
"Russ Meyer"@en |
"SEPT. 18, 2004"@en |
| http://dbpedia.org/resource/Russ_Meyer |
"Russ Meyer"@en |
""King of The Nudies""@en |
| http://dbpedia.org/resource/Russ_Meyer |
"Russ Meyer"@en |
1922-03-21 |
| http://dbpedia.org/resource/Trey_Parker |
"Trey Parker"@en |
"We were sleeping on floors thinking, Wow, another two weeks and we're going to be fucking rich. And pretty soon two weeks turns into two months, and two months turns into two years, and you definitely stop listening."@en |
| http://dbpedia.org/resource/Balu_Mahendra |
"Balu Mahendra"@en |
""I used to cut my cinematography classes and attend classes conducted in the departments of direction, screenplay writing and editing. However, I used to get the top rank in cinematography, so the professor did not mind my going to other classes. My main concern at that time was direction and scripting with a little bit of interest in cinematography.""@en |
| http://dbpedia.org/resource/Stephen_Surjik |
"Stephen Surjik"@en |
"My directing style is determined by the script–not by the type of shoes that I prefer. I therefore attempt to reinforce what is on the page and I keep my tube-top fetishes to myself"@en |
| http://dbpedia.org/resource/Sam_Simon |
"Sam Simon"@en |
""In the beginning, I was skeptical it could be successful, but I was not skeptical it could be good. I was hoping for 13 episodes that my friends would like. It's a good lesson, isn't it? If you do something trying to make your friends laugh and that you can be proud of, you can also be successful.""@en |
| http://dbpedia.org/resource/Sam_Simon |
"Sam Simon"@en |
""It's more than a hobby. I take my responsibilities very seriously and get very involved emotionally in Lamon's fights. The three days before a fight feel like they're an hour or two long for me. I love the rules meetings and press conferences and hanging out in the hotel lobby with the fighters. But on the night of a fight, once we get to the locker room, everything moves very slowly. I feel very tense in a way that nothing else, including my own wrestling matches and gym fights, ever made me feel. I'm aware that Lamon's career is on the line and he's risking his life every time he steps into the ring.""@en |
| http://dbpedia.org/resource/Greg_Daniels |
"Greg Daniels"@en |
"No one seems to nail these characters like Daniels does. It was a daunting challenge to write off Michael in a way that was emotionally satisfying, true to the spirit of the show, but also funny. Daniels expertly walked that tightrope, and threw in some treats for longtime fans as well."@en |
| http://dbpedia.org/resource/Alfred_Hitchcock |
"Alfred Hitchcock"@en |
""The length of a film should be directly related to the endurance of the human bladder.""@en |
| http://dbpedia.org/resource/Charlie_Chaplin |
"Charlie Chaplin"@en |
""I was hardly aware of a crisis because we lived in a continual crisis; and, being a boy, I dismissed our troubles with gracious forgetfulness.""@en |
| http://dbpedia.org/resource/Charlie_Chaplin |
"Charlie Chaplin"@en |
""I was determined to continue making silent films ... I was a pantomimist and in that medium I was unique and, without false modesty, a master.""@en |
| http://dbpedia.org/resource/Charlie_Chaplin |
"Charlie Chaplin"@en |
""No other filmmaker ever so completely dominated every aspect of the work, did every job. If he could have done so, Chaplin would have played every role and sewn every costume.""@en |
| http://dbpedia.org/resource/Charlie_Chaplin |
"Charlie Chaplin"@en |
""I have been the object of lies and propaganda by powerful reactionary groups who, by their influence and by the aid of America's yellow press, have created an unhealthy atmosphere in which liberal-minded individuals can be singled out and persecuted. Under these conditions I find it virtually impossible to continue my motion-picture work, and I have therefore given up my residence in the United States.""@en |
| http://dbpedia.org/resource/Charlie_Chaplin |
"Charlie Chaplin"@en |
""It is paradoxical that tragedy stimulates the spirit of ridicule ... ridicule, I suppose, is an attitude of defiance; we must laugh in the face of our helplessness against the forces of nature – or go insane.""@en |
| http://dbpedia.org/resource/Chris_Morris_(satirist) |
"Chris Morris (satirist)"@en |
"If you make a joke in an area which is for some reason, normally random, out of bounds, then you might find something out, you might put your finger on something."@en |
| http://dbpedia.org/resource/David_Lynch |
"David Lynch"@en |
"I look at the world and I see absurdity all around me. People do strange things constantly, to the point that, for the most part, we manage not to see it. That's why I love coffee shops and public places – I mean, they're all out there."@en |
| http://dbpedia.org/resource/David_Lynch |
"David Lynch"@en |
"My childhood was elegant homes, tree-lined streets, the milkman, building backyard forts, droning airplanes, blue skies, picket fences, green grass, cherry trees. Middle America as it's supposed to be. But on the cherry tree there's this pitch oozing out – some black, some yellow, and millions of red ants crawling all over it. I discovered that if one looks a little closer at this beautiful world, there are always red ants underneath. Because I grew up in a perfect world, other things were a contrast."@en |
| http://dbpedia.org/resource/David_Lynch |
"David Lynch"@en |
1990 |
| http://dbpedia.org/resource/Frank_Zappa |
"Frank Zappa"@en |
""Since I didn't have any kind of formal training, it didn't make any difference to me if I was listening to Lightnin' Slim, or a vocal group called the Jewels ... , or Webern, or Varèse, or Stravinsky. To me it was all good music.""@en |
| http://dbpedia.org/resource/Frank_Zappa |
"Frank Zappa"@en |
"Frank Zappa was one of the first to try tearing down the barriers between rock, jazz, and classical music. In the late Sixties his Mothers of Invention would slip from Stravinsky's "Petroushka" into The Dovells' "Bristol Stomp" before breaking down into saxophone squeals inspired by Albert Ayler"@en |
| http://dbpedia.org/resource/George_Lucas |
"George Lucas"@en |
""I'm moving away from the business... From the company, from all this kind of stuff.""@en |
| http://dbpedia.org/resource/Harry_Shearer |
"Harry Shearer"@en |
""Because I don't do stand-up, radio has always been my equivalent, a place to stay in connection with the public and force myself to write every week and come up with new characters. Plus it's a medium that – having grown up with it and putting myself to sleep with a radio under my pillow [as a kid] – I love. No matter what picture you want to create in the listener's mind, a few minutes of work gets it done.""@en |
| http://dbpedia.org/resource/Harry_Shearer |
"Harry Shearer"@en |
"When I left, Dick [Ebersol] issued a press release, saying "creative differences." And the first person who called me for a comment on it read me that and I blurted out, "Yeah, I was creative and they were different.""@en |
| http://dbpedia.org/resource/Jacques_Cousteau |
"Jacques Cousteau"@en |
"the old phrase has a literal meaning: We are all in the same boat.""@en |
| http://dbpedia.org/resource/Jacques_Cousteau |
"Jacques Cousteau"@en |
""The sea, the great unifier, is man's only hope. Now, as never before,"@en |
| http://dbpedia.org/resource/James_Cagney |
"James Cagney"@en |
""Smart, alert, hard-headed, Cagney is as typically American as Cohan himself... It was a remarkable performance, probably Cagney's best, and it makes Yankee Doodle a dandy""@en |
| http://dbpedia.org/resource/James_Cagney |
"James Cagney"@en |
""[A] homicidal paranoiac with a mother fixation""@en |
| http://dbpedia.org/resource/James_Cagney |
"James Cagney"@en |
""I never had the slightest difficulty with a fellow actor. Not until One, Two, Three. In that picture, Horst Buchholz tried all sorts of scene-stealing didoes. I came close to knocking him on his ass.""@en |
| http://dbpedia.org/resource/James_Cagney |
"James Cagney"@en |
""I never said, 'MMMmmm, you dirty rat!""@en |
| http://dbpedia.org/resource/James_Cagney |
"James Cagney"@en |
""I'm here to dance a few jigs, sing a few songs, say hello to the boys, and that's all.""@en |
| http://dbpedia.org/resource/James_Cagney |
"James Cagney"@en |
""I think he's some kind of genius. His instinct, it's just unbelievable. I could just stay at home. One of the qualities of a brilliant actor is that things look better on the screen than the set. Jimmy has that quality.""@en |
| http://dbpedia.org/resource/Jet_Li |
"Jet Li"@en |
"He has a very good control of the strength of every fist and kick. In the past, he used too much strength, those that get hit would be in great pain. He's the archetype of power. [...] Yes, he's still the best."@en |
| http://dbpedia.org/resource/Jet_Li |
"Jet Li"@en |
"3.786912E8"^^<http://dbpedia.org/datatype/second> |
| http://dbpedia.org/resource/Jet_Li |
"Jet Li"@en |
"I never say to myself I'm the best fighter in the world. If someone learns martial arts solely to pick fights on the street, to lean on it as a keystone weapon in conflicts, to use it to bully and intimidate others – then that person, in my opinion, cannot be considered a true martial artist."@en |
| http://dbpedia.org/resource/Jim_Jarmusch |
"Jim Jarmusch"@en |
"The key, I think, to Jim, is that he went gray when he was 15 ... As a result, he always felt like an immigrant in the teenage world. He's been an immigrant – a benign, fascinated foreigner – ever since. And all his films are about that."@en |
| http://dbpedia.org/resource/John_Hay |
"John Hay"@en |
"And this was all the religion he had—
To treat his engine well,
Never be passed on the river
And mind the pilot's bell.
And if ever the Prairie Belle took fire,—
A hundred times he swore,
He'd hold her nozzle agin the bank
Till the last soul got ashore."@en |
| http://dbpedia.org/resource/Kate_Bush |
"Kate Bush"@en |
""Every female you see at a piano is either Lynsey de Paul, or Carole King. And most male music—not all of it but the good stuff—really lays it on you. It really puts you against the wall and that's what I like to do. I'd like my music to intrude. Not many females succeed with that.""@en |
| http://dbpedia.org/resource/Kate_Bush |
"Kate Bush"@en |
""Artists shouldn't be made famous. They have this huge aura of almost god-like quality about them, just because their craft makes a lot of money. And at the same time it is a forced importance...It is man-made so the press can feed off it.""@en |
| http://dbpedia.org/resource/Kate_Bush |
"Kate Bush"@en |
""I don't think of myself as a musician. As a writer, I suppose. I only ever play the piano to accompany myself singing. I could never sit and read a piece of music. At best, I'm an accompanist.  Not being able to do what you want to do.""@en |
| http://dbpedia.org/resource/Marlon_Brando |
"Marlon Brando"@en |
""That will be Brando's legacy whether he likes it or not—the stunning actor who embodied a poetry of anxiety that touched the deepest dynamics of his time and place.""@en |
| http://dbpedia.org/resource/Marlon_Brando |
"Marlon Brando"@en |
""The art of screen acting has two chapters-"Before Brando" and "After Brando." Though Stanislavski created "method acting," it was Brando who showed the world its power.""@en |
| http://dbpedia.org/resource/Michael_Nesmith |
"Michael Nesmith"@en |
""The question I am most often asked is 'how does it feel to be up with the guys after all this time?' Well, it's a mixture of feelings and all of them are good. But the one that comes to mind is the feeling of profound gratitude.""@en |
| http://dbpedia.org/resource/Peter_Sellers |
"Peter Sellers"@en |
""I start with the voice. I find out how the character sounds. It's through the way he speaks that I find out the rest about him. ... After the voice comes the looks of the man. I do a lot of drawings of the character I play. Then I get together with the makeup man and we sort of transfer my drawings onto my face. An involved process. After that I establish how the character walks. Very important, the walk. And then, suddenly, something strange happens. The person takes over. The man you play begins to exist.""@en |
| http://dbpedia.org/resource/Peter_Sellers |
"Peter Sellers"@en |
""I feel extremely vulnerable, and I need help a lot. A lot. I suppose I feel mainly I need the help of a woman. I'm continually searching for this woman.  I don't know where they are. Maybe they're around somewhere. I'll find one, one of these days.""@en |
| http://dbpedia.org/resource/Peter_Sellers |
"Peter Sellers"@en |
""I'll play Clouseau with great dignity, because he thinks of himself as one of the world's best detectives. Even when he comes a cropper, he must pick himself up with that notion intact.  I think a forgivable vanity would humanize him and make him kind of touching. It's as if filmgoers are kept one fall ahead of him.""@en |
| http://dbpedia.org/resource/Peter_Sellers |
"Peter Sellers"@en |
""'He causes pain to everyone who gets close to him ...  For the rest of their professional lives they long to work with someone who cared the way Stanley did, someone they could learn from. They look for someone to respect the way they'd come to respect him, but they can never find anybody ... I've heard this story so many times.""@en |
| http://dbpedia.org/resource/Clint_Eastwood |
"Clint Eastwood"@en |
""... if possible, he looks even taller, leaner and more mysteriously possessed than he did in Sergio Leone's seminal Fistful of Dollars a quarter of a century ago. The years haven't softened him. They have given him the presence of some fierce force of nature, which may be why the landscapes of the mythic, late 19th-century West become him, never more so than in his new Unforgiven. ... This is his richest, most satisfying performance since the underrated, politically lunatic Heartbreak Ridge. There's no one like him.""@en |
| http://dbpedia.org/resource/Clint_Eastwood |
"Clint Eastwood"@en |
""Westerns. A period gone by, the pioneer, the loner operating by himself, without benefit of society. It usually has something to do with some sort of vengeance; he takes care of the vengeance himself, doesn't call the police. Like Robin Hood. It's the last masculine frontier. Romantic myth, I guess, though it's hard to think about anything romantic today. In a Western you can think, Jesus, there was a time when man was alone, on horseback, out there where man hasn't spoiled the land yet.""@en |
| http://dbpedia.org/resource/Clint_Eastwood |
"Clint Eastwood"@en |
""Clint is a true artist in every respect. Despite his years of being at the top of his game and the legendary movies he has made, he always made us feel comfortable and valued on the set, treating us as equals.""@en |
| http://dbpedia.org/resource/Clint_Eastwood |
"Clint Eastwood"@en |
""Everybody wonders why I continue working at this stage. I keep working because there's always new stories. ... And as long as people want me to tell them, I'll be there doing them.""@en |
| http://dbpedia.org/resource/Clint_Eastwood |
"Clint Eastwood"@en |
""The roles that Eastwood has played, and the films that he has directed, cannot be disentangled from the nature of the American culture of the last quarter century, its fantasies and its realities.""@en |
| http://dbpedia.org/resource/Clint_Eastwood |
"Clint Eastwood"@en |
""I know what you're thinking – 'Did he fire six shots or only five?' Well, to tell you the truth, in all this excitement, I've kinda lost track myself. But, being as this is a .44 Magnum, the most powerful handgun in the world and would blow your head clean off, you've got to ask yourself one question: 'Do I feel lucky?' Well, do you, punk?""@en |
| http://dbpedia.org/resource/Clint_Eastwood |
"Clint Eastwood"@en |
""I wanted to play it with an economy of words and create this whole feeling through attitude and movement. It was just the kind of character I had envisioned for a long time, keep to the mystery and allude to what happened in the past. It came about after the frustration of doing Rawhide for so long. I felt the less he said, the stronger he became and the more he grew in the imagination of the audience.""@en |
| http://dbpedia.org/resource/John_Huston |
"John Huston"@en |
""I miss the order that old Hollywood had. It was much easier then to get a picture made than it is today. It's become a cliché that the studio people were picture makers then, but there is a large element of truth in it. They were people who wanted to make pictures, and they knew how to make them. They weren't accountants and bookkeepers, tax consultants and efficiency experts who don't know how to make pictures, or wheeler-dealers; that element just seems to have taken over today—promoters who just want to get a a part of the action rather than people who want to make good movies.""@en |
| http://dbpedia.org/resource/Laurence_Olivier |
"Laurence Olivier"@en |
"I think I'm a fairly good manager now. ... I ran the St. James's theatre for eight years. I didn't run that at all well. ... I made mistake after mistake, but I dare say those mistakes taught me something."@en |
| http://dbpedia.org/resource/Laurence_Olivier |
"Laurence Olivier"@en |
"Mr Olivier was about twenty times as much in love with Peggy Ashcroft as Mr Gielgud is. But Mr Gielgud spoke most of the poetry far better than Mr Olivier ... Yet—I must out with it—the fire of Mr Olivier's passion carried the play along as Mr Gielgud's doesn't quite."@en |
| http://dbpedia.org/resource/Leonard_Nimoy |
"Leonard Nimoy"@en |
""His legacy as that character is key to the enjoyment of Star Trek. The way that Spock was used as a device for the writers to examine humanity and examine what it meant to be human, that's really what Star Trek was all about. And in finding Leonard Nimoy, they found the perfect person to portray that.""@en |
| http://dbpedia.org/resource/Lou_Reed |
"Lou Reed"@en |
""Lou Reed doesn't just write about squalid characters, he allows them to leer and breathe in their own voices, and he colors familiar landscapes through their own eyes. In the process, Reed has created a body of music that comes as close to disclosing the parameters of human loss and recovery as we're likely to find. That qualifies him, in my opinion, as one of the few real heroes rock & roll has raised.""@en |
| http://dbpedia.org/resource/Lou_Reed |
"Lou Reed"@en |
""Had he accomplished nothing else, his work with the Velvet Underground in the late sixties would assure him a place in anyone's rock & roll pantheon; those remarkable songs still serve as an articulate aural nightmare of men and women caught in the beauty and terror of sexual, street and drug paranoia, unwilling or unable to move. The message is that urban life is tough stuff—it will kill you; Reed, the poet of destruction, knows it but never looks away and somehow finds holiness as well as perversity in both his sinners and his quest. . . . [H]e is still one of a handful of American artists capable of the spiritual home run.""@en |
| http://dbpedia.org/resource/Lou_Reed |
"Lou Reed"@en |
""His artistic self-awareness is so secure that he invariably turns less into more. For he not only awakens nostalgia for Fifties rock, he shows that it is still a vital resource for today's musicians. . . . The overall impression is that of a knowing primitivism, as serious as it is playful, and never less than refreshing. . . . By keeping close to the roots he is keeping the faith.""@en |
| http://dbpedia.org/resource/R._Kelly |
"R. Kelly"@en |
""I didn't really know if the album would be as successful as it has been, but I hoped that it would. I was really taking a chance with the concept of this album.""@en |
| http://dbpedia.org/resource/Ray_Milland |
"Ray Milland"@en |
"Do what you can with what you've got. I know actors from my generation who sit at home and cry 'Why don't they send me any scripts?' I tell them, 'Because you still think of yourself as a leading man. You're 68, not 28. Face it.'"@en |
| http://dbpedia.org/resource/Tracey_Ullman |
"Tracey Ullman"@en |
"She's just brilliant--a bloodsucker of personalities.  If you insist, there are parallels to Peter Sellers, an actor who did brilliant sketch comedy.”"@en |
| http://dbpedia.org/resource/Woody_Allen |
"Woody Allen"@en |
"I don't like meeting heroes. There's nobody I want to meet and nobody I want to work with—I'd rather work with Diane Keaton than anyone—she's absolutely great, a natural"@en |
| http://dbpedia.org/resource/Woody_Allen |
"Woody Allen"@en |
"Mia's a good actress who can play many different roles. She has a very good range, and can play serious to comic roles. She's also very photogenic, very beautiful on screen. She's just a good realistic actress . . . and no matter how strange and daring it is, she does it well."@en |
| http://dbpedia.org/resource/Todd_Field |
"Todd Field"@en |
""Field has a deceptive facade of all-American clean-cut looks that allows him to suggest a wide range of emotions and thoughts behind such a regular-guy appearance; in "Ruby in Paradise" he expressed such uncommon decency and intelligence you had to wonder how Ashley Judd's hardscrabble Ruby could ever have considered letting him get away.  In all these roles Field has the precious gift of being able to surprise you and to command your attention on screen.""@en |
| http://dbpedia.org/resource/Rabindranath_Tagore |
"Rabindranath Tagore"@en |
"The last two days a storm has been raging, similar to the description in my song—Jhauro jhauro borishe baridhara [... amidst it] a hapless, homeless man drenched from top to toe standing on the roof of his steamer [...] the last two days I have been singing this song over and over [...] as a result the pelting sound of the intense rain, the wail of the wind, the sound of the heaving Gorai [R]iver, have assumed a fresh life and found a new language and I have felt like a major actor in this new musical drama unfolding before me."@en |
| http://dbpedia.org/resource/Rabindranath_Tagore |
"Rabindranath Tagore"@en |
"Clouds come floating into my life, no longer to carry rain or usher storm, but to add color to my sunset sky."@en |
| http://dbpedia.org/resource/Rabindranath_Tagore |
"Rabindranath Tagore"@en |
"The time that my journey takes is long and the way of it long.
I came out on the chariot of the first gleam of light, and pursued my voyage through the wildernesses of worlds leaving my track on many a star and planet.
It is the most distant course that comes nearest to thyself, and that training is the most intricate which leads to the utter simplicity of a tune.
The traveller has to knock at every alien door to come to his own, and one has to wander through all the outer worlds to reach the innermost shrine at the end.
My eyes strayed far and wide before I shut them and said 'Here art thou!'
The question and the cry 'Oh, where?' melt into tears of a thousand streams and deluge the world with the flood of the assurance 'I am!'"@en |
| http://dbpedia.org/resource/Rabindranath_Tagore |
"Rabindranath Tagore"@en |
"Who are you, reader, reading my poems a hundred years hence?
I cannot send you one single flower from this wealth of the spring, one single streak of gold from yonder clouds.
Open your doors and look abroad.
From your blossoming garden gather fragrant memories of the vanished flowers of an hundred years before.
In the joy of your heart may you feel the living joy that sang one spring morning, sending its glad voice across an hundred years."@en |
| http://dbpedia.org/resource/Rabindranath_Tagore |
"Rabindranath Tagore"@en |
"[I]n days long gone by [...] I can see [...] the King's postman coming down the hillside alone, a lantern in his left hand and on his back a bag of letters climbing down for ever so long, for days and nights, and where at the foot of the mountain the waterfall becomes a stream he takes to the footpath on the bank and walks on through the rye; then comes the sugarcane field and he disappears into the narrow lane cutting through the tall stems of sugarcanes; then he reaches the open meadow where the cricket chirps and where there is not a single man to be seen, only the snipe wagging their tails and poking at the mud with their bills. I can feel him coming nearer and nearer and my heart becomes glad."@en |
| http://dbpedia.org/resource/Rabindranath_Tagore |
"Rabindranath Tagore"@en |
"So I repeat we never can have a true view of man unless we have a love for him. Civilisation must be judged and prized, not by the amount of power it has developed, but by how much it has evolved and given expression to, by its laws and institutions, the love of humanity."@en |
| http://dbpedia.org/resource/Rabindranath_Tagore |
"Rabindranath Tagore"@en |
"Our passions and desires are unruly, but our character subdues these elements into a harmonious whole. Does something similar to this happen in the physical world? Are the elements rebellious, dynamic with individual impulse? And is there a principle in the physical world which dominates them and puts them into an orderly organization?"@en |
| http://dbpedia.org/resource/Angelina_Jolie |
"Angelina Jolie"@en |
""I choose not to keep my story private because there are many women who do not know that they might be living under the shadow of cancer. It is my hope that they, too, will be able to get gene tested, and that if they have a high risk they, too, will know that they have strong options.""@en |
| http://dbpedia.org/resource/Angelina_Jolie |
"Angelina Jolie"@en |
""Jolie is emerging as one of the great wild spirits of current movies, a loose cannon who somehow has deadly aim.""@en |
| http://dbpedia.org/resource/Angelina_Jolie |
"Angelina Jolie"@en |
""We cannot close ourselves off to information and ignore the fact that millions of people are out there suffering. I honestly want to help. I don't believe I feel differently from other people. I think we all want justice and equality, a chance for a life with meaning. All of us would like to believe that if we were in a bad situation someone would help us.""@en |
| http://dbpedia.org/resource/Wong_Kar-wai |
"Wong Kar-wai"@en |
""Whereas Chungking was sunshiny and suffused with bright, lovely daytime colors, Fallen Angels is more about neon, and night time, and grunge."
"Chungking Express and Fallen Angels together are the bright and dark of Hong Kong.""@en |
| http://dbpedia.org/resource/Wong_Kar-wai |
"Wong Kar-wai"@en |
""I could have continued making films like As Tears Go By for the rest of eternity but I wanted to do something more personal after that. I wanted to break the structure of the average Hong Kong film.""@en |
| http://dbpedia.org/resource/Bill_Terry |
"Bill Terry"@en |
"The Giant from Memphis"@en |
| http://dbpedia.org/resource/Bill_Terry |
"Bill Terry"@en |
"You can't overemphis."@en |
| http://dbpedia.org/resource/Bill_Terry |
"Bill Terry"@en |
"T is for Terry"@en |
| http://dbpedia.org/resource/Bill_Terry |
"Bill Terry"@en |
"Whose .400 average"@en |
| http://dbpedia.org/resource/Winsor_McCay |
"Winsor McCay"@en |
""I just couldn't stop drawing anything and everything.""@en |
| http://dbpedia.org/resource/Winsor_McCay |
"Winsor McCay"@en |
""It is as though the first creature to emerge from the primeval slime was Albert Einstein; and the second was an amoeba, because after McCay's animation it took his followers nearly twenty years to find out how he did it. The two most important people in animation are Winsor McCay and Walt Disney, and I'm not sure which should go first.""@en |
| http://dbpedia.org/resource/Hyder_Ali |
"Hyder Ali"@en |
"He was a bold, an original, and an enterprising commander, skilful in tactics and fertile in resources, full of energy and never desponding in defeat. He was singularly faithful to his engagements and straightforward in his policy towards the British...his name is always mentioned in Mysore with respect, if not with admiration."@en |
| http://dbpedia.org/resource/John_Gielgud |
"John Gielgud"@en |
"If your great-aunt happens to be Ellen Terry, your great-uncle Fred Terry, your cousins Gordon Craig and Phyllis Neilson-Terry, and your grandmother the greatest Shakespearean actress in all Lithuania, you are hardly likely to drift into the fish trade."@en |
| http://dbpedia.org/resource/John_Gielgud |
"John Gielgud"@en |
"Mr Olivier was about twenty times as much in love with Peggy Ashcroft as Mr Gielgud is. But Mr Gielgud spoke most of the poetry far better than Mr Olivier ... Yet – I must out with it – the fire of Mr Olivier's passion carried the play along as Mr Gielgud's doesn't quite."@en |
| http://dbpedia.org/resource/Joss_Whedon |
"Joss Whedon"@en |
"Equality is not a concept. It's not something we should be striving for. It's a necessity. Equality is like gravity, we need it to stand on this earth as men and women, and the misogyny that is in every culture is not a true part of the human condition. It is life out of balance, and that imbalance is sucking something out of the soul of every man and woman who's confronted with it. We need equality. Kinda now."@en |
| http://dbpedia.org/resource/Joss_Whedon |
"Joss Whedon"@en |
"Everybody has a perspective. Everybody in your scene, including the thug flanking your bad guy, has a reason. They have their own voice, their own identity, their own history. If anyone speaks in such a way that they're just setting up the next person's lines, then you don't get dialogue: you get soundbites."@en |
| http://dbpedia.org/resource/Robert_Duvall |
"Robert Duvall"@en |
""You can't concoct or push ahead something other than what you have at that moment as yourself, as that character. It's you at that moment in time. ... Between action and cut, it's a nice world, but you can't force that any more than you can force it in life..""@en |
| http://dbpedia.org/resource/James_L._Brooks |
"James L. Brooks"@en |
""When I broke into movies, it was hard for anyone who had previously worked in television to break into the movies. It's easier now, but was almost impossible back then"."@en |
| http://dbpedia.org/resource/Kenneth_Anger |
"Kenneth Anger"@en |
""[Lucifer is] a teenage rebel. Lucifer must be played by a teenage boy. It's type-casting. I'm a pagan and the film is a real invocation of Lucifer. I'm much realer than von Stroheim. The film contained real black magicians, a real ceremony, real altars, real human blood, and a real magic circle consecrated with blood and cum.""@en |
| http://dbpedia.org/resource/Kenneth_Anger |
"Kenneth Anger"@en |
""I've always considered movies evil; the day that cinema was invented was a black day for mankind.""@en |
| http://dbpedia.org/resource/Kenneth_Anger |
"Kenneth Anger"@en |
""[D'Este was] a sexual pervert.  You've made that Faustian bargain with your public. Take me – all of me – I'm yours.""@en |
| http://dbpedia.org/resource/Harold_Cronk |
"Harold Cronk"@en |
"Back then, Cronk concedes, “I didn’t even know people made livings as art directors.” To him, movies just appeared on the screen, almost magically. “I didn’t understand that it could take hundreds of people on a movie set to make it happen.”"@en |
| http://dbpedia.org/resource/Usama_Mukwaya |
"Usama Mukwaya"@en |
"Kinna-Uganda has something to do with mediocrity. We should follow the trends of other industries like Hollywood, Bollywood and Nollywood; let us call our industry Ugawood."@en |
| http://dbpedia.org/resource/Usama_Mukwaya |
"Usama Mukwaya"@en |
"It affected me so much having to adapt to different parenting environments."@en |
| http://dbpedia.org/resource/Kanye_West |
"Kanye West"@en |
"Mr. West has had the most sui generis hip-hop career of the last decade. No rapper has embodied hip-hop’s often contradictory impulses of narcissism and social good quite as he has, and no producer has celebrated the lush and the ornate quite as he has. He has spent most of his career in additive mode, figuring out how to make music that’s majestic and thought-provoking and grand-scaled. And he's also widened the genre's gates, whether for middle-class values or high-fashion and high-art dreams."@en |
| http://dbpedia.org/resource/Bala_(director) |
"Bala (director)"@en |
""Bala is unique in many ways. The way he changed Tamil cinema's character was commendable ... There were many who tried for a change. Among the new generation of filmmakers, Bala leads the pack in bringing a change in Tamil cinema's outlook and approach.""@en |
| http://dbpedia.org/resource/Howard_Zinn |
"Howard Zinn"@en |
""We were not born critical of existing society. There was a moment in our lives when certain facts appeared before us, startled us, and then caused us to question beliefs that were strongly fixed in our consciousness – embedded there by years of family prejudices, orthodox schooling, imbibing of newspapers, radio, and television. This would seem to lead to a simple conclusion: that we all have an enormous responsibility to bring to the attention of others information they do not have, which has the potential of causing them to rethink long-held ideas.""@en |
| http://dbpedia.org/resource/Howard_Zinn |
"Howard Zinn"@en |
""I can't think of anyone who had such a powerful and benign influence. His historical work changed the way millions of people saw the past. The happy thing about Howard was that in the last years he could gain satisfaction that his contributions were so impressive and recognized.""@en |
| http://dbpedia.org/resource/Madonna_(entertainer) |
"Madonna (entertainer)"@en |
""Probably in many respects most of the songs [on Hard Candy] are [autobiographical]. But in more of an unconscious way. I don't really think about telling personal stories when I'm writing music. It just comes. And then a lot of times, six months later, eight months later, I go, 'Oh, that's what I wrote that song about.' But that's when I play the song for lots of people and they all go, 'Oh, I can totally relate to that.'""@en |
| http://dbpedia.org/resource/Madonna_(entertainer) |
"Madonna (entertainer)"@en |
""[Madonna] is a brilliant pop melodist and lyricist. I was knocked out by the quality of the writing [during Ray of Light sessions]. The lyrics to "The Power of Good-Bye" are stunning. I love Madonna as an artist and a songwriter... I know she grew up on Joni Mitchell and Motown, and to my ears she embodies the best of both worlds. She is a wonderful confessional songwriter, as well as being a superb hit chorus pop writer... She doesn’t get the credit she deserves as a writer.""@en |
| http://dbpedia.org/resource/Madonna_(entertainer) |
"Madonna (entertainer)"@en |
""I tried several different things when Stuart [producer Stuart Price] brought me music. And it was like divine inspiration. It just clicked, like: 'This is the direction of my record.' That's what we intended, to make a record that you can play at a party or in your car, where you don't have to skip past a ballad. It's nonstop.""@en |
| http://dbpedia.org/resource/Madonna_(entertainer) |
"Madonna (entertainer)"@en |
""In Like a Prayer I've been dealing with more specific issues that mean a lot to me. They're about an assimilation of experiences I've had in my life and in relationships. They're about my mother, my father and my bonds with my family about the pain of dying, or growing up and letting go. [The album] was a real coming-of-age record for me emotionally..... I had to do a lot of soul-searching and I think it is a reflection of that.""@en |
| http://dbpedia.org/resource/Madonna_(entertainer) |
"Madonna (entertainer)"@en |
""I was surprised by how people reacted to 'Like a Virgin' because when I did that song, to me, I was singing about how something made me feel a certain way—brand-new and fresh—and everyone interpreted it as 'I don't want to be a virgin anymore.  That's not what I sang at all. 'Like a Virgin' was always absolutely ambiguous.""@en |
| http://dbpedia.org/resource/Philip_Seymour_Hoffman |
"Philip Seymour Hoffman"@en |
""That wasn't easy.  I was pretty heavy, and I was afraid that people would laugh at me. Todd said they might laugh, but they won't laugh at you. He saw what we were working for, which was the pathos of the moment.  But Philip Seymour Hoffman had a range that seemed all-encompassing, and he could breathe life into any role he took on: a famous author, a globetrotting party-boy aristocrat, a German counterintelligence agent, a charismatic cult leader, a genius who planned games of death in dystopic futures. He added heft to low-budget art films, and nuance and unpredictability to blockbuster franchises. He was a transformative performer who worked from the inside out, blessed with an emotional transparency that could be overwhelming, invigorating, compelling, devastating.""@en |
| http://dbpedia.org/resource/Sidney_Lumet |
"Sidney Lumet"@en |
"While the goal of all movies is to entertain, the kind of film in which I believe goes one step further. It compels the spectator to examine one facet or another of his own conscience. It stimulates thought and sets the mental juices flowing."@en |
| http://dbpedia.org/resource/The_Who |
"The Who"@en |
""The one thing that disgusts me about the Who is the way they smashed through every door in the uncharted hallway of rock 'n' roll without leaving much more than some debris for the rest of us to lay claim to.""@en |
| http://dbpedia.org/resource/The_Who |
"The Who"@en |
""I just couldn't get through to Pete and Roger. We have absolutely nothing in common apart from music.""@en |
| http://dbpedia.org/resource/The_Who |
"The Who"@en |
""The music of the Who can only be called rock & roll ... it is neither derivative of folk music nor the blues; the primary influence is rock & roll itself.""@en |
| http://dbpedia.org/resource/The_Who |
"The Who"@en |
""We're not mates at all.""@en |
| http://dbpedia.org/resource/Daniel_Hendler |
"Daniel Hendler"@en |
""There's a part that I like, no doubt, because if not, I wouldn't be involved in acting. What happens is that the popularity that comes to you is not always what you expect: you wanna be greeted when you feel like it. But I never suffered that, because I've never exceed the line of massive popularity. It is difficult to learn that the more love, the more shade. That is, there is no ideal popularity, we must assume it, in the same way that many people will love you, many people will reject you.""@en |
| http://dbpedia.org/resource/Han_Han |
"Han Han"@en |
"Every issue of the magazine would include 2 to 3 articles with the worst viewpoints or the lowest standards of writing, as examples of articles which the magazine completely disagreed with or found the most unsuitable. These articles could be stupid, against humanity, against common sense, against righteousness or anti-freedom. In conformance with the standards of these articles, the writers would be paid a relatively low RMB 250 per 1,000 words if compared with other types of articles, still a high rate if compared to publishing industry standards. I had reasons for deciding on this rate."@en |
| http://dbpedia.org/resource/Han_Han |
"Han Han"@en |
"My income is from book royalties. I don't have a head for business and stocks, and I don't invest in trust funds. Racing is an expensive activity, and this frequently causes my family financial difficulties. I don't take part in [other] revenue generating activities, and I decline many such offers every year. [Taking advantage of racing-related] advertising opportunities would earn me more than RMB 3 million, but I'm afraid that once I get started in this, I would not be able to stop."@en |
| http://dbpedia.org/resource/Paresh_Mokashi |
"Paresh Mokashi"@en |
""I started doing rounds of Mumbai showbiz industry but soon realized that I cant do this actor's struggle. I left acting long back because to me it was a much more difficult process. I wasn't at ease with the whole idea of acting. I realised that I was happier with behind the camera work.""@en |


This is not intended as a single trip report but a report on a notable effect of a variety of substances which I've experienced.
I suffer from a collapsed hip caused by a genetic condition, which is often very painful. A total hip replacement is not advised so long as the pain is tolerable, as due to my age and activity level, the replacement would be likely to fail in a few years time. I have generally avoided taking pain medications due to a desire not to become dependent, however when the pain is very severe I have found that 500-1000mg acetaminophen can slightly blunt the edge of the pain. Opiates are largely ineffective for me, and cause me to have severe nausea as well.
The first time I tried Ecstasy, I was fortunate to obtain a pill of extremely high purity ~100mg MDMA from a friend. The experience was wonderful in many ways, as we spent the night talking over some things that had happened recently that had me very upset, and I managed to figure out things that had been confusing me for months. But the most remarkable thing of all, shortly after the come-up I realized that my hip was amazingly flexible and completely free of pain.
When the effects of the substance wore off, the hip pain gradually returned. I do not know if they returned fully to baseline immediately, but it was clearly a temporary but quite profound effect. During the experience I was not unable to feel pain, but I was able to *not* feel pain, which is to say, the chronicness was absent.
Not wanting to lose the special magic, I abstained from using MDMA for six months, but when I did (using another from the same batch of pills), I found my experience once again to include this amazing pain relief property. Again though, once the substance wore off, pain returned.
I've also found similar temporary relief from Hawaiian Baby Woodrose. And I'd read that migraine and cluster headache sufferers were finding recourse to hallucinogens in dealing with their variety of chronic pain, with
psilocybin mushrooms being particularly recommended.
As it turned out, another friend of mine had found a small quantity of 4-Acetoxy-Diethyltryptamine and offered a portion of it to me. I knew this was supposed to be similar in effect to psilocybin, so I took 14mg of this substance and again my pain disappeared. Being sure that the pain would shortly return I took great care as always not to overextend myself, but strangely enough I didn't really notice my hip becoming too painful at all the next day. Since there is some natural variation from one day to the next I chalked that up to the fact that I'd been going relatively easy on it and had been careful not to strain myself the day before.
Some weeks later, three friends and I tried a higher dose of the 4-AcO-DET (18mg) and two of us (including me) combined this with an earlier dose of ~100mg MDMA. This experience was not a wonderful one, our set and setting were wrong and conflicts occurred between members of our group due to a failure to establish clear objectives at the outset. I'd been putting a lot of strain on my leg recently, and it was surprising that the hip pain again did not return afterwards. Nor the next day. Nor the entire week following. It wasn't that pain had completely gone, but it was reduced so enormously from normal that it was virtually ignorable, and flexibility remained well above what it usually was. Only after a week did pain gradually start to return, and slowly build back up over the following week.
It was at this point that I realized I was onto something of significant therapeutic value. It is one thing to experience pain relief while in an altered state, the trade-off isn't one which is likely to improve one's productive life. But if it is possible to have lasting benefits for a whole week after dosing, that is another matter entirely. So I decided I had to try to figure out what substances and doses worked best for therapeutic effect, apart from their recreational potential.
I already knew that 4-AcO-DET seemed to offer the most significant benefit at this point, so I hoped to reduce the dose in order to make the experience more manageable, as my objective wasn't to be tripping out of my mind every weekend. I tried reducing to 10mg and had one of the signal best experiences of my life, resetting some of my life priorities and working out my relationships with many people over the course of the evening. And afterwards, I again observed the pain relief to continue for days.
At this point I tried to see if I would be able to obtain more of this wonderful substance but found that the supplier had gone out of business, and none could be found. While I still had a small bit in reserve I was concerned that I not use it up too quickly when more might not be forthcoming. I again tried Hawaiian Baby Woodrose, and found the effects to be as temporary as ever. Moreover, once the effects wore off the residual tryptamine pain relief I had had beforehand seemed also to have evaporated. It is as if the second substance overrode the first. And I had a weird headspace for a few days thereafter.
Reverting back to 4-AcO-DET I reduced my dosage further to just 5mg. This led to a pleasant but not very intense experience and only nominal pain relief, with only a little residual benefit either.
Last week my leg was killing me, I'd been exerting myself too much lately, and it was difficult even sleeping at night due to the chronic pain. Just then, I received a small packet of another substance, 5-Methoxy-Diisopropyltryptamine, which I hoped might work as well as the 4-AcO-DET.
So this past Friday, I took 8mg, and after an hour was feeling little or no effect while others who had also obtained some of this material were feeling a great deal more. I'd eaten a large meal not too many hours before and that may have led to my slow response (I'm usually VERY fast to respond to things, and typically sensitive to lower doses than others as well). I decided to boost by taking an additional 4mg. After awhile I was feeling very pleasantly, and unlike the 4-AcO-DET the experience was mostly physical with no difficult mental effects. I was very relaxed all evening, laid back in a way that I rarely am, and I found it tremendously easy just going with the flow of things. About three hours in, my companions shared a bowl of kb from which I abstained (pot has never agreed with me) but the second-hand smoke seemed to bring up my effects a bit.
Hip pain seemed to flow away slowly over the course of the evening, not dramatically as with other substances. But by morning I felt it had lifted almost completely, and it hasn't come back for two days. So far the pain relief is as good as any from 4-AcO-DET but with a far less mind-bending trip, so this may actually turn out to be the ideal substance for my purposes.
Far from scheduling these wonderful tryptamine allies, they should be studied for pharmacological pain relief. It isn't only migraine sufferers who can benefit from them, anyone with chronic pain might find them to be an amazing tool. And in my case, it may allow me to defer total hip replacement surgery for much longer than otherwise, thus keeping me from having far greater problems down the road.
Experience Reports are the writings and opinions of the individual authors who submit them.
Some of the activities described are dangerous and/or illegal and none are recommended by Erowid.


An extensively experienced quality assurance specialist, that brings a vast range of skill sets to any given environment. The ability to engage effectively with stakeholders from many different sectors. Fluent in both English and Spanish, allowing me to converse across many different levels and audiences. With advanced SEO skills and knowledge, I can bring a committed and dedicated work ethic to any organisation.
As part of a quality assurance team, developed, refined and implemented practices and procedures to identify & resolve defects. Duties include trouble-shooting and resolving test code, test environment and infrastructure issues, as well as working with test case management, issue tracking, source control, database, requirements management, reporting, and other tools. System administration, script automation, frameworks, and associated organizational processes.
Deployed automated selenium test scripts using CrossBrowser testing platform. Analyzed test results for real or false positives, generated defect reports from automated tests and manual tests. Manually reproduced and tracked defects reported using track.js error reporting tools and linking our tests and results into our issue ticketing system.
Revised meta descriptions on content, made optimizations and generated reports through moz.org platform for cSubs.com. Using Wordpress and Yoast to optimize, improve rankings, gain subscribers and drive improvements on the site. Using a holistic view on Wordpress SEO to embed online marketing and PR. I utilised Yoast SEO Plugin, offering stability.


Calculates and plots the SiZer map for scatterplot data. A SiZer map is a way of examining when the p-th derivative of a scatterplot-smoother is significantly negative, possibly zero or significantly positive across a range of smoothing bandwidths.
| Version: | 0.1-5 |
| Depends: | R (≥ 2.4.0) |
| Imports: | stats, graphics, splines, boot |
| Suggests: | dplyr, ggplot2 |
| Published: | 2018-05-29 |
| Author: | Derek Sonderegger [aut, cre] |
| Maintainer: | Derek Sonderegger <derek.sonderegger at gmail.com> |
| License: | GPL-2 | GPL-3 [expanded from: GPL (≥ 2)] |
| URL: | https://github.com/dereksonderegger/SiZer |
| NeedsCompilation: | no |
| CRAN checks: | SiZer results |
| Reference manual: | SiZer.pdf |
| Package source: | SiZer_0.1-5.tar.gz |
| Windows binaries: | r-devel: SiZer_0.1-5.zip, r-release: SiZer_0.1-5.zip, r-oldrel: SiZer_0.1-5.zip |
| OS X binaries: | r-release: SiZer_0.1-5.tgz, r-oldrel: SiZer_0.1-5.tgz |
| Old sources: | SiZer archive |
| Reverse depends: | elasso |
Please use the canonical form https://CRAN.R-project.org/package=SiZer to link to this page.


Once a driver is stopped, officers may or may not search them or their vehicle. We can use the table function we've used before in a new way to help us analyze if a driver's race is related to whether or not they are searched.
table


special thanks to: https://en.wikipedia.org/wiki/Time_zone, https://momentjs.com and https://jquery.com. Also thanks to https://en.wikipedia.org/wiki/Time_in_India


|
ntHash
|
ntHash is an efficient rolling hash function for k-mers and spaced seeds.
Make sure Meson is installed on the system.
Download the repo (either from the releases section or close using git clone https://github.com/bcgsc/ntHash
). Setup meson in an arbitrary directory (e.g. build
), by running the following command in the project's root (include --prefix=PREFIX
set the installation prefix to PREFIX
):
Then, install the project and its dependencies using:
This will install include/nthash
and lib/libnthash.a
to the installation prefix.
To use ntHash in a C++ project:
#include <nthash/nthash.hpp>
nthash
namespaceinclude
directory (pass -IPREFIX/include
to the compiler)libnthash.a
(i.e. pass -LPREFIX/lib -lnthash
to the compiler, where PREFIX
is the installation prefix)-std=c++17
(and preferably -O3
) enabledRefer to docs for more information.
Generally, the nthash::NtHash
and nthash::SeedNtHash
classes are used for hashing sequences:
If you would like to contribute to the development of ntHash, after forking/cloning the repo, create the build
directory without the release flag:
Compile the code, tests, and benchmarking script using:
If compilation is successful, libnthash.a
will be available in the build
folder. The benchmarking script is also compiled as the bench
binary file in build
.
Before sending a PR, make sure that:
meson test
in the project directoryninja clang-format
in the build
folder (requires clang-format
to be available)ninja clang-tidy-check
in build
returns no errors (requires clang-tools
to be installed)ninja docs
in build
(requires doxygen)Parham Kazemi, Johnathan Wong, Vladimir Nikolić, Hamid Mohamadi, René L Warren, Inanç Birol, ntHash2: recursive spaced seed hashing for nucleotide sequences, Bioinformatics, 2022;, btac564, https://doi.org/10.1093/bioinformatics/btac564
Hamid Mohamadi, Justin Chu, Benjamin P Vandervalk, and Inanc Birol. ntHash: recursive nucleotide hashing. Bioinformatics (2016) 32 (22): 3492-3494. doi:10.1093/bioinformatics/btw397


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The 6 A’s of Letting Go
The Path to Personal Freedom
by Vanessa RochelleI have been conditioned to hold on tight to the ones I love. The harder I held on the more it showed my loyalty and commitment. I was an eager to please type that did not rock the boat. It appeared from the outside that I was smooth sailing into the sunset with my relationships in tow.
I have been taught to hold on to my biggest wounds and negative emotions – a martyr disguised as a proud warrior that beat the battle. Life went on despite forgotten hurts hidden deep in the heart. Like a seasoned actor, I was trapped in playing roles in my own made up affairs.
Letting go is a process. It is a conscious, self – perpetuating removal of ingrained thought and behaviour patterns that have been woven into my psyche for what seems like millennia. Letting go is a timeless exploration to my personal freedom. Timeless in the sense that letting go does not have an expected arrival or end date.
The act of releasing is leading me to be my own person. I am creating my own belief systems, especially in regards to relationships, instead of recycling and reusing borrowed beliefs from others and society in general.
On my path to self discovery I unearthed these 6 A’s to letting go – like an awe struck archeologist uncovering an ancient truth. There is no one right way to do it. Everyone needs to find their own way and I found mine.
These 6 A’s did not occur in a well maintained linear manner. There were starts, stops, halts and leaps. Over time it has become more effortless to incorporate each one simultaneously into my daily life.
Amend – amending and healing past and current hurts helps me to free up space to live in the moment and connect with my inner Being, my source of wellness.
Awareness – being self – aware of my emotions, thoughts, reactions and responses gently guides me to consciously choose my experiences.
Appreciate – appreciation is the most efficient way to get into a state of joy and contentment. Gratitude provides me with a perspective that my life is a string of happy moments intertwined in the contrast of the world I live in.
Accept – accepting all what is releases my resistance, control and expectations of how, when and where my life should unfold.
Allow – allowing myself to relax and breathe eliminates worries and struggles to get ahead.
Anticipate – anticipating what I desire in my life brings me into positive energetic alignment to receive it.
It has taken me years to get to self – mastery of letting go. Now in my personal freedom I am relaxed, still and can appreciate the sunset alone.
— Published on November 17, 2019


TO KILL A MOCKINGBIRD
January 13-16, 2011
Directors - Jennifer Coghlan & Adam Trest
THE CAST
Jean Louis - Katelyn Ellzey
Atticus Finch - George Jackson
Scout - Mia Parker
Jem - Ethan Davis
Dill - James Ruth
Tom Robinson - Kendrick Windham
Mayella Ewell - Summer Deloach
Bob Ewell - Tod Lightsey
Cal - Jessica Cheeks
Gilmer - Bill Holloway
Miss Stephanie - Teresa Raybourn
Miss Maudie - Lacy Cockrell
Miss. Dubose - Hope Perkins
Walter Cunningham - Jared Walters
Heck Tate - Shane Overstreet
Judge Taylor - Grant Hedgepath
Rev. Sykes - Scott Johnikin
Boo - Shane Cockrell
Helen Robinson - Carrie Johnikin