Michel De Certeau Quotes

To me, all guitar players can play, because I know they're getting to where they're at. It's a very hard instrument to accept, because it takes years to start working with it, that's first, and it looks like everybody else is moving on the instrument but you. Then when you find a cat that's really playing, you always find that he's been playing a long time, you can't get around it.

If you want to move to a new level in your life, you must break through your comfort zone and practice doing things that are not comfortable.

I'm not sure what's going on in Britain. I don't know what's going on in London. Because London is no longer an English city, and that's how they got the Olympics. I mean, they said, "We're the most cosmopolitan city on Earth," but it doesn't feel English.

Cities are magical things. You know the energy in them. You have to walk the streets in any borough here and you can see between what was in this city in the 1970's and where it is today and how much more energy there is and how much more just sheer.

That has been another interesting discovery: that basically a city [Lagos] could recover from a really deep, deep, deep pit.

A mate owned a Bryan Robson top. We were kicking about, and I asked if I could be Robbo for a while. My dad looked out and went ballistic. He wasn’t having his kid dragging the Gerrard name through the gutter. I thought we’d have to move!

A lot of kids are moving to Baltimore, because we have a great music scene and we've got edge. Come on down, we've got scary edge. But great edge - it's still a city you can be a bohemian in.

The coolest thing for me is the experience of floating and not feeling my weight. And hanging by a window just after sunset and watching the stars in the big black dome of the sky as the earth moves underneath.

A police procedural novel can be even funnier if the police include Trolls and Dwarves and things like that. You start looking at the whole basis of the cop novel. You get the cop moving in a different way when you've actually set it in a fantasy city.

I don't roam around with a camera and never did. I took pictures in spurts, for my books, for some assignments or on special occasions. Like people who take out their cameras for Christmas and birthdays. Each time, like them, probably, I feel it’s the first time and as if I would have to relearn the moves. Luckily, it comes pretty fast, like riding a bike.

We can hear others, and we can travel with them without moving, and we can imagine them, and we are all connected one to the other by a crazy root system, like so many leaves of grass. But the game makes me wonder wheter we can really ever fully become another.

He didn't like it all that much when he first came - all the rubbish and the rush - but it was growing on him, it wasn't half bad. Coming to the city was like entering a tunnel, he said, and finding to your surprise that the light at the end didn't matter; sometimes in fact the tunnel made the light tolerable.

When you become a good cook, you become a good craftsman, first. You repeat and repeat and repeat until your hands know how to move without thinking about it.

Chicago happened slowly, like a migraine. First they were driving through countryside, then, imperceptibly, the occasional town became a low suburban sprawl, and the sprawl became the city.

When you're playing a spirit from another dimension, you really can do anything and get as abstract as you want and still have a context that will work within the movie. I wanted Ghost Rider to move in a way where it would be like a bad dream. I thought about cobra snakes, and the way that they will show you their backs and sway in a rhythmic motion and almost lull you to sleep before suddenly attacking. Well, I put that into the movie. And I decided to move my head in the jerky way a praying mantis does. So, I did all these things to give the movie a feeling of otherness.

I miss that time. The cities back then, just after the forests died, were full of wonders, and you'd stumble on them--these princes of the air on common rooftops--the rivers that burst through the city streets so they ran like canals--the rabbits in parking garages--the deer foaling, nestled in Dumpsters like a Nativity.

When we practice paying attention, whether in meditation, yoga (moving mediation), or simply walking down the street, we can choose to be at ease, or choose to be tense. It's a choice, and that choice is up to no one but us to decide.

I had this idea for a long time to make a film about a poet in Paterson named Patterson. I wanted him to be working class. Eventually I thought a bus was a perfect visual way to move him, to drift him through the city, to have a measured kind of routine lifestyle. And all these things kind of congealed into the film "Paterson" eventually.

In the movie, you have to decide as an actor how you are going to give a character presence. You can't really move, walk, and talk like yourself. This creates something so you have to find something "other".

I'm not nostalgic about the old city. I don't enjoy it that much. It was just a city with one emperor and the rest of them just rats or meaningless people.

I love this city. If I'm elected, I will move the White House to San Francisco. I went to Fisherman's Wharf and they even let me into Allioto's. It may be Baghdad by the Bay to you, but to me it's Resurrection City

If I work on a certain move constantly, then finally, it doesn't seem risky to me. The idea is that the move stays dangerous and it looks dangerous to my foes, but it is not to me. Hard work has made it easy.

The soul of the river had entered my soul, And the gathered power of my soul was moving So swiftly, it seemed to be at rest Under cities of cloud and under Spheres of silver and changing worlds Until I saw a flash of trumpets Above the battlements over Time!

I went to New York to be born again. And when the train plunged into a tunnel under New York City, with its lining of pipes and wires, I was out of the womb and into the birth canal.

You're the reason why I'll move to the city; you're why I'll need to leave.