If, in looking at the lives of princes, courtiers, men of rank and fashion, we must perforce depict them as idle, profligate, and criminal, we must make allowances for the rich men's failings, and recollect that we, too, were very likely indolent and voluptuous, had we no motive for work, a mortal's natural taste for pleasure, and the daily temptation of a large income. What could a great peer, with a great castle and park, and a great fortune, do but be splendid and idle?
We learn through experience and experiencing, and no one teaches anyone anything. This is as true for the infant moving from kicking to crawling to walking as it is for the scientist with his equations. If the environment permits it, anyone can learn whatever he chooses to learn; and if the individual permits it, the environment will teach him everything it has to teach.
The audience is the most revered member of the theater. Without an audience there is no theater. Every technique learned by the actor, every curtain, every flat on the stage, every careful analysis by the director, every coordinated scene, is for the enjoyment of the audience. They are our guests, our evaluators, and the last spoke in the wheel which can then begin to roll. They make the performance meaningful.
Through spontaneity we are re-formed into ourselves. It creates an explosion that for the moment frees us from handed-down frames of reference, memory choked with old facts and information and undigested theories and techniques of other people's findings. Spontaneity is the moment of personal freedom when we are faced with reality, and see it, explore it and act accordingly. In this reality the bits and pieces of ourselves function as an organic whole. It is the time of discovery, of experiencing, of creative expression.
There are few places outside his own play where a child can contribute to the world in which he finds himself. His world: dominated by adults who tell him what to do and when to do it --benevolent tyrants who dispense gifts to their good subjects and punishment to their bad ones, who are amused at the cleverness of children and annoyed by their stupidities.
The pure, the bright, The beautiful that stirred our hearts in youth,The impulses to wordless prayer,The streams of love and truth,The longing after something lost,The spirit's yearning cry,The striving after better hopes;These things can never die.The timid hand stretched forth to aid a brother in his need,A kindly word in grief's dark hour that proves a friend indeed;The plea for mercy softly breathed,When justice threatens high,The sorrow of a contrite heart;These things shall never die, shall never die.Let nothing pass,For every hand must find some work to do,Lose not a chance to waken love.Be firm and just and true,So shall a light that cannot fade beam on thee from on high,And angel voices say to thee;These things can never die.
Yeah, it's odd when you look back at your own work. Some filmmakers don't look back at their work at all. I look at my work a lot, actually. I feel like I learned something while looking at stuff I've done in terms of what I'm going to do in the future, mistakes I've made and things at work or what have you.