It is indeed my opinion now that evil is never "radical," that it is only extreme, and that it possess neither depth nor any demonic dimension. It can overgrow and lay waste the whole world precisely because it spreads like fungus on the surface. It is "thought-defying," as I said, because thought tries to reach some depth, to go to the roots, and the moment it concerns itself with evil, it is frustrated because there is nothing. That is its "banality." Only the good has depth and can be radical.
Life consists of sadness too. And sadness is also beautiful; it has its own depth, its own delicacy, its own deliciousness, its own taste. A man is poorer if he has not known sadness; he is impoverished, very much impoverished. His laughter will be shallow, his laughter will not have depth, because depth comes only through sadness. A man who knows sadness, if he laughs, his laughter will have depth. His laughter will have something of his sadness too, his laughter will be more colorful.
Even dramatically how you position some person, the depth, the existence is different than a flat image even though by itself it has depth, we create the illusion of depth. For example, some of the shots I have to stay closer to the actor because it's a young actor, I like it closer for some of the shots. I watch 2D scenes next to the camera, then when I go back to my station and watch it in 3D I have to go back and reduce his acting, he has to shrink a little bit because he peeks out more.
I think the real problem is that nobody buys albums anymore, so you don't get the depth of the artists that are out today. What you get is whatever they felt is politically correct to get on there and actually make some impact. I think that's where you're losing your depth. You're only getting the very top of everything. It really bothers me.
I can only speak for me... but in my life, I find that, in sobriety, I feel much more, and I have much more depth. I also feel - not to segue, but as being a parent of five kids, I can bring much more to my acting, and so I'm all about anything that gives you more feeling and more depth.
I had a feeling once about Mathematics - that I saw it all. Depth beyond depth was revealed to me - the Byss and Abyss. I saw - as one might see the transit of Venus or even the Lord Mayor's Show - a quantity passing through infinity and changing its sign from plus to minus. I saw exactly why it happened and why the tergiversation was inevitable but it was after dinner and I let it go.
Winston S. Churchill
We rarely find a depth by looking inside of ourselves for it. Depth is found in what we can learn from the people and things around us. Everyone, everything, has a story, Gia. When you learn those stories, you learn experiences that fill you up, that expand your understanding. You add layers to your soul.
I think bringing depth to characters means really needing to find out who this girl is, what is she passionate about, what makes her tick, what gets her going in life. So I did a lot of backstory for who she was and sometimes it comes across screen and sometimes it doesn't. You never know, because you're not the director, but you can only do your work and hope that it somehow subtly is infiltrated in that. But I think the characters I've played for the most part have depth, just not in the way that you think they do.
The black sky was underpinned with long silver streaks that looked like scaffolding and depth on depth behind it were thousands of stars that all seemed to be moving very slowly as if they were about some vast construction work that involved the whole universe and would take all time to complete. No one was paying attention to the sky.
For Freud, the semiotic trajectory of the dreamwork determines a phantom architectonics: a cartography of nowhere, an architecture of nothing (or the unconscious), and an archaeology of imaginary depth that always takes place on the surface. As a practice and sensibility, psychoanalysis remains attuned to superficiality; it constitutes a search for depth on the surface of things.
Akira Mizuta Lippit
For it is the suffering flesh, it is suffering, it is death, that lovers perpetuate upon the earth. Love is at once the brother, son, and father of death, which is its sister, mother, and daughter. And thus it is that in the depth of love there is a depth of eternal despair, out of which springs hope and consolation.
Miguel De Unamuno
What I sought in books was imagination. It was depth, depth of thought and feeling; some sort of extreme of subject matter; some nearness to death; some call to courage. I myself was getting wild; I wanted wildness, originality, genius, rapture, hope. ... What I sought in books was a world whose surfaces, whose people and events and days lived, actually matched the exaltation of the interior life. There you could live.
A painting is nothing more than light reflected from the surface of a pigment-covered canvas. But a great painter can make you see the depth, make you feel the underlying emotion, make you sense the larger world. That, too, is the power of science: to sense and convey the depth and dimensionality of nature, to glance at the surface and to divine the shape of the universe around us.
I used to do miserably in English literature, which I thought was a sign of moral turpitude. As I look back on it, I think it was rather to my credit. The notion of actually putting writers' words into other words is quite ridiculous because why bother if writers mean what they mean, and if they don't, why read them? There is, I suppose, a case for studying literary works in depth, but I don't quite know what 'in depth' means unless you read a paragraph over and over again.
Depth, in a pictorial, plastic sense, is not created by the arrangement of objects one after another toward a vanishing point, in the sense of the Renaissance perspective, but on the contrary (and in absolute denial of this doctrine) by the creation of forces in the sense of push and pull . Nor is depth created by tonal gradation (another doctrine of the academician which, at its culmination, degraded the use of color to a mere function of expressing dark and light).
Experience has repeatedly confirmed that well-known maxim of Bacon's that 'a little philosophy inclineth a man's mind to atheism, but depth in philosophy bringeth men's minds about to religion.' At the same time, when Bacon penned that sage epigram... he forgot to add that the God to whom depth in philosophy brings back men's minds is far from being the same from whom a little philosophy estranges them.
There is a conceptual depth as well as a purely visual depth. The first is discovered by science; the second is revealed in art. The first aids us in understanding the reasons of things; the second in seeing their forms. In science we try to trace phenomena back to their first causes, and to general laws and principles. In art we are absorbed in their immediate appearance, and we enjoy this appearance to the fullest extent in all its richness and variety. Here we are not concerned with the uniformity of laws but with the multiformity and diversity of intuitions.
He who had known us before we were even born came to know us infinitely better as he knelt in Gethsemane and as he hung on the cross of Calvary. We come to know those we serve (Mosiah 5:13; compare 1 John 2:3-4). And we certainly come to love and treasure those for whom we sacrifice. Conversely, the depth of the pain we feel in behalf of a loved one is intimately tied to the depth of the love we bear that loved one. Thus only a being filled with infinite and eternal love could perform an infinite and eternal sacrifice.
Robert L. Millet