We assume, to begin with, that the individual is at least as complex in his internal structure as the language is which he speaks - otherwise, how could he speak a language which is complex?
Kenneth L. PikeRead
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We assume, to begin with, that the individual is at least as complex in his internal structure as the language is which he speaks - otherwise, how could he speak a language which is complex?
Imagine if we can just talk to our computers and have it understand, 'Please schedule a meeting with Bob for next week.' Or if each child could have a personalized tutor. Or if self-driving cars could save all of us hours of driving.
Why do I write books? Why do I think? Why should I be passionate? Because things could be different, they could be made better.
The meaning of a theater event is that none of us could see something so clearly as with the new energy that is brought with the meeting of a theme, actors living it, and an audience gradually entering it to live it with them. At that moment, a certain light appears, revealing what we would never have thought of on our own.
I have made myself what I am. And I would that I could make the red people as great as the conceptions of my own mind, when I think of the Great Spirit that rules over us all.
One must work; one must work. I have done what I could.
It's not that, living in Pakistan, I feel an enormous constraint on how I can write and what I can say; rather, I recognize that one has to navigate these things... Am I aware of things that one could say that would be risky or that could be dangerous? Certainly I'm aware of those things.
There was never a time you could get the majority of people in Alabama or Mississippi, or even southern Delaware, to vote to end segregation. What changed things was the rule of law, the courts. Brown v. Board of Education was ushered in by a movement, but it was a legal decision.
I would never want Ukraine to be a piece on the map, on the chessboard of big global players, so that someone could toss us around, use us as cover, as part of some bargain.
As a kid, on the cotton fields, I had this tune in my head. I hummed it and sang it. It was the same melody as 'When A Man Loves A Woman.' I could never, ever forget it.
If I were able to write, I probably would. But movies have given me a part of my life where I can express feelings and bring convictions to an audience as if I could write. So I made 'Gandhi' about human relations, prejudice and the empire. In 'Cry Freedom' I expressed my horror and disgust about apartheid.
That which neither weapon nor flame could accomplish will be achieved by a sweet speaking tongue in council.
AIDS was allowed to happen. It is a plague that need not have happened. It is a plague that could have been contained from the very beginning.
You are the plays you write. How on earth could you write them otherwise? They're projections of your own predilections.
Black men and women were not allowed to register to vote. My own mother, my own father, my grandfather and my uncles and aunts could not register to vote because each time they attempted to register to vote, they were told they could not pass the literacy test.
The first poems I knew were nursery rhymes, and before I could read them for myself, I had come to love just the words of them, the words alone.
Sartre said that wars were acts and that, with literature, you could produce changes in history. Now, I don't think literature doesn't produce changes, but I think the social and political effect of literature is much less controllable than I thought.
I put down the camera long ago, you know? I was here in London, aged 19, and I was obsessed with my camera, shooting everything I could. Then someone stole it. It helped me to see things for the first time.
The first person who showed me that I could be a maker of music was one of my best friends. It's like, you can't see yourself doing something until you see somebody else doing it. Other people were encouraging me singing, but this was the first time that I could see myself writing songs and playing guitar.
There's this little box that African-American actors have to work in, in the first place, and I was able to rise above that box. I could have done a bunch of movies where I stayed as the Axel Foley or Reggie Hammond persona. But I didn't want to be doing the same thing all the time. Every now and then, you crash and burn, but that's part of it.
You know, sound was still a fairly new thing when I came into movies. And the reason musicals happened is because of sound. They could put music in the picture! That's how it all began.
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