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The moment always comes when, having collected one's ideas, certain images, an intuition of a certain kind of development — whether psychological or material — one must pass on to the actual realization. In the cinema, as in the other arts, this is the most delicate moment — the moment when the poet or writer makes his first mark on the page, the painter on his canvas, when the director arranges his characters in their setting, makes them speak and move, establishes, through the compositions of his various images, a reciprocal relationship between persons and things, between rhythm of the dialogue and that of the whole sequence, makes the movement of the camera fit in with the psychological situation. But the most crucial moment of all comes when the director gathers from all the people and from everything around him every possible suggestion, in order that his work may acquire a more spontaneous cast, may become more personal and, we might even say — in the broadest sense — more autobiographical.

 

Michelangelo Antonioni

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How can one be free of the images that one has? First of all, I must find out how these images come into being, what is the mechanism that creates them. You can see that at the moment of actual relationship, that is, when you are talking, when there are arguments, when there are insults and brutality, if you are not completely attentive at that moment, then the mechanism of building an image starts. That is, when the mind is not completely attentive at the moment of action, then the mechanism of building images is set in motion. When you say something to me which I do not like — or which I like — if at that moment I am not completely attentive, then the mechanism starts. If I am attentive, aware, then there is no building of images.

 

Jiddu Krishnamurti

 

The creation of a poem, or mathematical creation, involves so much sense of arrival, so much selection, so much of the desire that makes choice — even though one or more of these may operate in the unconscious or partly conscious work-periods before the actual work is achieved — that the questions raised are very pertinent. . . . The poet chooses and selects and has that sense of arrival as the poem ends; he is expressing what it feels like to arrive at his meanings. If he has expressed that well, his reader will arrive at his meanings. The degree of appropriateness of expression depends on the preparing. By preparing I mean allowing the reader to feel the interdependences, the relations, within the poem.
These inter-dependences may be proved, if you will allow the term, in one or more ways: the music by which the syllables resolve may lead to a new theme, as in a verbal music, or to a climax, a key-relationship which makes — for the moment — an equilibrium; the images may have established their own progression in such a way that they serve to mark the poem’s development; the tensions and attractions between the poem’s meanings may mark its growth, as they must if the poem is to achieve its form.
A poem is an imaginary work, living in time, indicated in language. It is and it expresses; it allows us to express.

 

Muriel Rukeyser

 

You have to take risks … We will only understand the miracle of life fully when we allow the unexpected to happen. Every day, God gives us the sun — and also one moment in which we have the ability to change everything that makes us unhappy. Every day, we try to pretend that we haven't perceived that moment, that it doesn't exist — that today is the same as yesterday and will be the same as tomorrow. But if people really pay attention to their everyday lives, they will discover that magic moment. It may arrive in the instant when we are doing something mundane, like putting our front-door key in the lock; it may lie hidden in the quiet that follows the lunch hour or in the thousand and one things that all seem the same to us. But that moment exists — a moment when all the power of the stars becomes a part of us and enables us to perform miracles.

 

Paulo Coelho

 

It's a strange moment, the moment of creating characters who up to that moment have had no existence. What follows is fitful, uncertain, even hallucinatory, although sometimes it can be an unstoppable avalanche. The author's position is an odd one. In a sense he is not welcomed by his characters. They resist him, they are not easy to live with.

 

Harold Pinter

 

What is the now? Not the content that fills this moment with sense perceptions, with experiences, with thoughts and emotions. Not the content that fills this moment. That's not the now. That's what happens in the now, the content. The now is deeper, the now is who you are as the space of conscious presence that makes it all possible, that makes the whole world possible. (via Facebook Oct 9 2009)

 

Eckhart Tolle