It is only in appearance that time is a river. It is rather a vast landscape and it is the eye of the beholder that moves.
Any landscape is a condition of the spirit.
Sky and clouds and trees and little figures relaxing in the perfect rural rhythm of their surroundings: these are the staples of a Gainsborough landscape.
I have high hopes that GIS will become increasingly relevant for landscape architects as we make the tools easier to use for the design process of just inventory and mapping.
I’m a self-taught landscape gardener; it’s a real passion of mine. It’s what I do in my spare time because trees don’t ask questions!
In our youths, many of us suspected that being tied down to a partner and family might constrain us. But after 40, even that landscape starts to shift. Many singletons turn inward and start longing for the things so many of us longed to be free of in our 20s.
Certainly if I were to think in terms of a field that would have required a different mode of education, I think I would have leaned in the direction of being a therapist. And without the education, or a different kind of education, I think my first choice would be a landscape architect. I love to garden.
I came of age as a male lead actor just as the TV landscape dramatically shifted.
At the birth of society and civilisation I find a religious landscape littered with feisty female deities who make wisdom their business.
I just love shows that don’t hand everything to you, that ask you to be smarter. I think that’s something really important that HBO has done to change the landscape of TV.
Brittany can hardly claim the attention of the tourist as a superlatively beautiful country. The way in which trees are clipped and tortured out of shape disfigures the sylvan landscape; and of mountain scenery, there is none.
You cannot, in human experience, rush into the light. You have to go through the twilight into the broadening day before the noon comes and the full sun is upon the landscape.
‘Lost’ seems to be the inverse of ‘Air’: It explores dispossession and identity by forcing a bunch of people into one invented landscape instead of using many invented landscapes to keep people apart.
‘Station to Station’ is a series of happenings that go across the landscape. What is a happening? A happening is a moment in time. A moment in time that is not choreographed, where you don’t know precisely what’s going on. Where there are aspects of different layers of culture.
In every election homophobia has been part of the landscape and in every campaign I’ve been able to become connected enough to my constituents that they know who I am and that I can be elected on my merits.
Distinctly American poetry is usually written in the context of one’s geographic landscape, sometimes out of one’s cultural myths, and often with reference to gender and race or ethnic origins.
All of my work comes out of a deep concern for human expansion into the landscape.
Women always try to see the one good part of The Weird Guy because the dating landscape is so bleak. Women will say, ‘He’s very odd, but he likes to cook. He’s creepy, but he makes good pancakes!’
A world without a proper day of rest is like a landscape without hedgerows, trees, or landmarks: a howling, featureless wilderness in which we incessantly seek pleasure because we cannot find happiness.
With Jackson there was quiet solitude. Just to sit and look at the landscape. An inner quietness. After dinner, to sit on the back porch and look at the light. No need for talking. For any kind of communication.
To feel the grace of God in a painting of the dear, quiet commonness of a domestic interior, or in a landscape, seascape, cityscape, trains us to feel the grace of God in the thing itself in situ.
The two impulses in travel are to get away from home, and the other is to pursue something – a landscape, people, an exotic place. Certainly finding a place that you like or discovering something unusual is a very sustaining thing in travel.
Most countries are static, and they need to do is keep having babies. But America’s like this big old clanking smoking machine that just lumbers across the landscape scooping up and eating everything in sight.
Well, I think it’s important to have some kind of a narrative engine that pushes the audience through the landscape. But I love films like ‘Apocalypse Now,’ which is a very mood driven film. It’s a magnetic force that’s pulling them through.
One day, out of irritation, I said, you know all of those years with the Royal Shakespeare Company, all those years of playing kings and princes and speaking black verse, and bestriding the landscape of England was nothing but a preparation for sitting in the captain’s chair of the Enterprise.
The sentimentalist in me loves it when the important things we say and do can be tied to buildings and landscape.
I always recommend navigating the landscape and understanding where it’s coming from, so don’t get your media from just one source; get it from a variety of different sources but understand the bias and the source.
As a Midlander and a big walker, I’d always loved ridge and furrow fields, the plough-marked land as it was when it was enclosed. It is the landscape giving you a story of lives that ended with the arrival of sheep.
‘Up in the Air’ may be a glossy production sprinkled with laughter and sex, but it captures the distinctive topography of our Great Recession as vividly as a far more dour Hollywood product of 70 years ago, ‘The Grapes of Wrath,’ did the vastly different landscape of the Great Depression.
For me, I look at a pilot and go, ‘I see the landscape. I see the characters. I see the direction and the potential of the story.’ And I also go, ‘That didn’t work. I could change that. Maybe that works. I don’t know. We’ll see.’ For me, I look at it, as an actor, as what can I improve upon?
I love where I’m from. I love the landscape because it is so beautiful, and I also love the people of my community, the people whose stories I’m trying to tell.
Once a landscape is industrialized, its wild character is lost for good. You can’t recreate untouched tundra, mountain meadows, crystal clear streams, and animals that have never encountered toxic waste.
Mourning Ruby is not a flat landscape: it is more like a box with pictures painted on every face. And each face is also a door which opens, I hope, to take the reader deep into the book.
The old process of social assimilation used to be mainly about English new money – generated in London, the mucky, brassy North or the colonies – buying those houses and restoring them, and doing the three-generation thing, mouldering into the landscape, and the ‘community,’ identifying with the place in a familiar way.
The freeways of America are like giant veins twisting and turning, rushing life from one zone to the next. The landscape is a giant body just lying there feeling the rumble.
What I take from writers I like is their economy – the ability to use language to very effective ends. The ability to have somebody read something and see it, or for somebody to paint an entire landscape of visual imagery with just sheets of words – that’s magical.
I grew up reading 19th-century novels and late Victorian children’s books, so I try for a good story full of coincidence and error, landscape and weather. However, the world was radically changed during my lifetime, and I tell of that battering as best I can.
Use description of landscape to help you establish the emotional tone of the scene. Keep notes of how other authors establish mood and foreshadow events by describing the world around the character.
I don’t want to make light of the importance of my musical upbringing, as you cannot avoid being influenced by the area you grow up, but I will say that Reykjavik’s geography is very different from, say, New York, Paris, or Copenhagen. There’s big skies. The buildings are low. The landscape is spread out.
The clear French landscape is as pure as a verse of Racine.
The competitive landscape for us is very broad. We see ourselves in the entertainment space. We compete with listening to the radio. We compete with watching TV. We compete with social networks.
I enjoyed working at Fox. I met wonderful people who respected and mentored me. I learned a lot and made life-long friends. The network is an important part of our media landscape, and I want it to thrive.
The Little Friend is a long book. It’s also completely different from my first novel: different landscape, different characters, different use of language and diction, different approach to story.
My father worked in agriculture, and I got to travel round remote rural areas with him and see a bit of the landscape and people.
Landscape affects you.
I almost never set out to photograph a landscape, nor do I think of my camera as a means of recording a mountain or an animal unless I absolutely need a ‘record shot’. My first thought is always of light.
My home is attached to a study – in fact, my home is my study, and I have a little room to sleep in. I need to write looking onto the street or a landscape. Looking at reality from some distance gives me romantic visions.
The landscape is television has changed so much, because there are so many outlets, that the odds of getting a zeitgeisty hit – you know how ‘American Idol’ seems to appeal to every human being on the planet? Doing that in comedy nowadays is very, very hard.
