Laia Of Serra Quotes

You're sure this is what you want?" I search her eyes for doubt, fear, uncertainty, but all I see is that fire. Ten hells
"I'm sure"
"Then I'll find a way ~ Sabaa Tahir

Lately, some nights, before falling asleep, Marina tries out some of the affirmations suggested by her therapist. She tends to stop after a minute because she struggles saying the same thing over and again, and all too soon the affirmations turn into something else entirely.

'I am a beautiful and productive woman; I am an artist. I am a fruitful and defective woman; I am an artiste. I am a fearful and resentful zoo-man; I am a sadist. I am a dutiful representative of batshit; I am batshit, I am zoo shit. I am a fruity loopy arsonist. ~ Laia Jufresa

It's hard to do a camera inside of a car. Non-Stop would have been impossible. Usually modern lenses you can focus up to the lens pretty much, but anamorphic you can't. You need like three feet. ~ Jaume Collet-Serra

as "a general endorsement of the exploitative colonization tactics of the Spanish. Though Junipero Serra was known to have argued on behalf of the property rights and economic entitlement of converted Native Americans, he consistently advocated against their right to self-governance, and was a staunch supporter of corporal punishment, appealing to the Spanish government for the right to flog Indians." When Doc had finished this particular lecture, I just looked at him and went, "Photographic memory much?" He looked embarrassed. "Well," he said. "It's good to know the history of the place where you're living." I filed this away for future reference. Doc might be just the person I needed if Jesse showed up again. Now, standing in the cool office of the ancient building Junipero Serra had constructed for the betterment of the natives in the area, I wondered ~ Meg Cabot

I could only shoot when the subway was on the other platform. Little things like that, and the platform is very narrow. It's not like you can hide if a subway comes so a lot of things happened because of that. Or a thousand people just came and looked straight into the lens like they didn't expect a movie to be shooting. ~ Jaume Collet-Serra

The viewer becomes aware of himself and of his movement through the plaza. As he moves, the sculpture changes. Contraction and expansion of the sculpture result from the viewer's movement. Step by step the perception not only of the sculpture but of the entire environment changes. ~ Richard Serra

Nobody warns you aobut this, but the dead, or at least some of them, take customs, decades, whole neighborhoods with them. Things you thought you shared but which turn out to be theirs. When death does you part, it's also the end of what's mine is yours. ~ Laia Jufresa

I thought Out of Action was better as a catalogue than the honeycomb because the honeycomb was like walking into one compartment and then another compartment. ~ Richard Serra

Time and movement became really crucial to how I deal with what I deal with, not only sight and boundary but how one walks through a piece and what one feels and registers in terms of one's own body in relation to another body. ~ Richard Serra

It could be that people want to consume sculpture the way they consume paintings - through photographs ... I'm interested in the experience of sculpture in the place where it resides. ~ Richard Serra

Even knowing all of that, if I head to Kauf alone, I can make it in half the time that it would take the wagons. I don't wish to leave Laia - I will feel the absence of her voice, her face, every day. I already know it. But if I can make it to the prison in a month, I'll have enough time before Rathana to break Darin out. The Tellis extract will keep the seizures at bay until the wagons get close to the prison. I will see Laia again. I rise, coil my bedroll, and make for Afya's wagon. When I knock on the back door, it takes her only a moment to answer, despite it being the dead of night. She ~ Sabaa Tahir

The tract through which we passed is generally very good land, with plenty of water; and there, as well as here, the country is neither rocky nor overrun with brush-wood. ~ Junipero Serra

When you're a kid and you see gangsters living the life, you kind of want to be like that. ~ Jaume Collet-Serra

We found vines of a large size, and in some cases quite loaded with grapes; we also found an abundance of roses, which appeared to be like those of Castile. ~ Junipero Serra

He stood there watching for a moment, not able to move. Even with her mascara running down her face and her hair beginning to frizz, she was still by far the most beautiful girl he'd ever laid eyes on. It was quite simple, wasn't it? This great affection he had for Olivia was so overwhelming he chose to walk away instead of being brutally honest with himself. ~ Maria La Serra

Here are also the two vessels, but the San Carlos without sailors, all having died of the scurvy, except two. ~ Junipero Serra

Laia is the wild dance of a Tribal campfire, while Helene is the cold blue of an alchemist's flame. ~ Sabaa Tahir

I take a breath. Words seem suddenly trite and useless, so I step forward and grab Elias's hands, remembering Pop. Touch heals, Laia. I hold fast to him, trying to put everything I feel into that touch. I hope your Tribe is all right. I hope they survive the Martials. I'm truly, truly sorry. It's not enough. But it's all I have. After a moment, Elias lets out a breath and leans his forehead against mine. "Tell me what you told me that night in my room at Blackcliff," he murmurs. "What your Nan used to say to you." "As long as there is life" - I can hear Nan's warm voice as I say it - "there is hope." Elias lifts his head and looks down at me, the coolness in his eyes replaced by that raw, unquenchable fire. I forget to breathe. "Don't you forget it," he says. "Ever." I nod. The minutes pass, and neither of us pull away, instead finding solace in the coolness of the night and the quiet company of the stars. ~ Sabaa Tahir

The tapping grows insistent, and I turn, intending to tell off the Cadet. Instead, I'm faced with a slave-girl looking up at me through impossibly long eyelashes. A heated, visceral shock flares through me at the clarity of her dark gold eyes. For a second, I forget my name.
I've never seen her before, because if I had, I'd remember. Despite the heavy silver cuffs and high, painful-looking bun that mark all of Blackcliff's drudges, nothing about her says slave. Her black dress fits her like a glove, sliding over every curve in a way that makes more than one head turn. Her full lips and fine, straight nose would be the envy of most girls, Scholar or not. I stare at her, realize I'm staring, tell myself to stop staring, and then keep staring. My breath falters, and my body, traitor that is, tugs me forward until there are only inches between us.

"Asp-aspirant Veturius."

It's the way she says my name - like it's something to fear - that brings me back to myself. Pull it together, Veturius. I step away, appalled at myself when I see the terror in her eyes.

"What is it?" I ask calmly. ~ Sabaa Tahir

She was magic, a direct light - the kind that seeps through in places that didn't exist inside him anymore. The light he thought he lost forever, but Nick realized we don't lose the light, we absorb it, and with Olivia he wanted to absorb every small speck of it. ~ Maria La Serra

Thank God I arrived the day before yesterday, the first of the month, at this port of San Diego, truly a fine one, and not without reason called famous. ~ Junipero Serra

I wanted to move away from the disaster airplane movies that we have seen in the past and do something that was more mysterious, and delay until the end the resolution of the mystery, and then have to deal with the plane itself. ~ Jaume Collet-Serra

Riley Bay wasn't human.
But if he wasn't human, then what was he? An alien, sent to Earth to learn about humanity in preparation for an invasion? Riley was certainly weird enough to be an alien, but I didn't see why the mother ship would send him to Portsmouth, Rhode Island, in the guise of a high schooler. ~ Serra Elinsen

Fight back, Laia. For Darin. For Izzi. For every Scholar this beast has abused. Fight. A scream bursts from me, and I claw at Marcus's face, but a punch to my stomach takes the wind out of my lungs. I double over, retching, and his knee comer up into my forehead. The hallway spins, and I drop to my knees. Then I hear him laughting, a sadistic chuckle that stokes my defiance.

Sluggishly, I throw myself at his legs. It won't be like before, like during the raid when I let that Mask drag me about my own house like some dead thing.

This time, I'll fight. Tooth and nail, I'll fight. ~ Sabaa Tahir

Now when you have administrators deciding what sexuality is, and what's a taboo and what's not in terms of content, you got guys, like, Trent Lott who equates homosexuality with a disease. ~ Richard Serra

But I don't think of any particular viewer in mind other than myself. ~ Richard Serra

And certainly the history of public sculpture has been disastrous but that doesn't mean it ought not to continue and the only way it even has a chance to continue is if the work gets out into the public. ~ Richard Serra

Dear girl with the red scarf,
People will come and go in our lives. Most of them we won't give a second thought to as soon as the door closes behind them. But I had always imagined that you would leave the deepest, everlasting mark.
-Mr. Universe. ~ Maria La Serra

Are the Trials starting?" The girl claps her hands over her mouth. "I'm sorry," she whispers. "I - "

"It's all right." I don't smile at her. It will only scare her. For a female slave, a smile from a Mask is not usually a good thing. "I'm actually wondering the same thing. What's your name?"

"S-slave-Girl." Of course. My mother would already have scourged her name out of existence.

"Right. You work for the Commandant?" I want her to say no. I want her to say that my mother roped her into this. I want her to say she's assigned to the kitchens or infirmary, where slaves aren't scarred or missing body parts.

But the girl nods in response to my question. Don't let my mother break you, I think. The girl meets my eyes, and there is that feeling again, low and hot and consuming. Don't be weak. Fight. Escape.

A gust of wind whips a strand free from her bun and across her cheekbone. Defiance flashes across her face as she holds my gaze, and for a second, I see my own desire for freedom mirrored, intensified in her eyes. It's something I've never detected in the eyes of a fellow student, let alone a Scholar slave. For one strange moment, I feel less alone.

But then she looks down, and I wonder at my own naiveté. She can't fight. She can't scape. Not from Blackcliff. I smile joylessly; in this, at least, the slave and I are more similar than she'll ever know. ~ Sabaa Tahir

how many ghosts I was going to encounter. That Serra guy had to have a bunch of Native Americans mad at him - particularly considering that corporal punishment thing - and I hadn't any doubt I was going to encounter all of them. And yet, when my mom and I walked through the school's wide front archway into the courtyard around which the Mission had been constructed, I didn't see a single person who looked as if he or she didn't belong there. There were a few tourists snapping pictures of the impressive fountain, a gardener working diligently at the base of a palm tree - even at my new school there were palm trees - a priest walking in silent contemplation down the airy breezeway. It was a beautiful, restful place - especially for a building that was so old and had to have seen so much death. I couldn't understand it. Where were all the ghosts? Maybe they were afraid to hang around the place. I was a little afraid, looking up at that crucifix. ~ Meg Cabot

I think you always have to find where the boundary is in relation to the context in order to be able to kind of articulate how you want the space to interact with the viewer. ~ Richard Serra

If you do any thriller or horror movie a big part of the process is accounting for the cell phone. ~ Jaume Collet-Serra

On the other hand, if there's an underlying core of poetry that I go to, I go to the sea. I've lived on the sea all my life. I live on the sea in Cape Breton. ~ Richard Serra

It's the color scheme of that first afternoon - that white panorama full of potential, that threshold white - that Marina understands as whomise. And that's what she's trying to recreate now, a year and a bit later, with a series of expensive light bulbs. 'White light,' the packaging promised. She fits them one by one throughout the house, and unbeknown to her, choreographs the slow dance of light-over-puddle in the passageway. ~ Laia Jufresa

There are two kinds of guilt. The kind that's a burden and the kind that gives you purpose. Let your guilt be your fuel. Let it remind you of who you want to be. Draw a line in your mind. Never cross it again. You have a soul. It's damaged but it's there. Don't let them take it from you. ~ Sabaa Tahir

Who am I? Laia muttered to her invisible audience, and they knew the answer and told it to her with one voice. She was the little girl with scabby knees, sitting on the doorstep staring down through the dirty golden haze of River Street in the heat of late summer, the six-year-old, the sixteen-year-old, the fierce, cross, dream-ridden girl, untouched, untouchable. She was herself ~ Ursula K. Le Guin

Anamorphic is very difficult because the distance from the lens to the person to focus is very long so you need a lot of distance from the camera to the person so that means that you need a lot of space. ~ Jaume Collet-Serra

But I'll try to immerse myself in as many of the formal characteristics of site as possible in the landscape. ~ Richard Serra

When did you star here?" I ask her.

"Three days ago. Sir. Aspirant. Um - " She wrings her hands.

"Veturius is fine."

She walks carefully, gingerly - the Commandant must have whipped her recently. And yet she doesn't hunch or shuffle like the others slaves. The straight-backed grace with which she moves tells her story better than words. She'd been a freewoman before this - I'd bet my scims on it. And she has no idea how pretty she is - or what kind of problems her beauty will cause for her at a place like Blackcliff. The wind pulls at her hair again, and I catch her scent - like fruit and sugar.

"Can I give you some advice?"

Her head flies up like a scared animal's. At least she's wary. "Right now you..." Will grab the attention of every male in a square mile. "Stand out," I finish. "It's hot, but you should wear a hood or a cloak - something to help you blend in."

She nods, but her eyes are suspicious. She wraps her arms around herself and drops back a little. I don't speak to her again. ~ Sabaa Tahir

That's one thing I've learned about food through pure empirical research: food is a patriot. Under no circumstances will it be replicated outside of its mother country. ~ Laia Jufresa

What interests me is the opportunity for all of us to become something different from what we are, by constructing spaces that contribute something to the experience of who we are. ~ Richard Serra

Serra was a mix of light and darkness; he was a man of great vision and great blindness, of immense zeal and immense stubbornness. In his own mind, his goals justified his treatment of the Indians, whom he loved as the children he did not have and whom he disciplined with the same ardor with which he disciplined himself. His vision, like that of many of his eighteenth century contemporaries, demanded intolerance against those with different ideas about this world and the next. These qualities do not make him an angel or a devil; they simply make him a man of his time and place. His time and place were, like ours, far from perfect."26 ~ Christian Clifford

But what does interest me is the notion that if you do a lot of work it means there's a potential for other people to understand that a lot of things are possible with a sustained effort and that the broadening of experiences is possible and I think that's all art can be. ~ Richard Serra

Camera's are cheap. It's the lenses that are expensive. ~ Jaume Collet-Serra

She chuckles again. "Because sane plans never work, girl," she says. "Only the mad ones do. ~ Sabaa Tahir

Shooting digitally would not have been easier. Cameras are the same size. I always shoot on film unless I have a reason not to, which I haven't had yet. ~ Jaume Collet-Serra

The thing about rigging is, you can learn it if you become a master rigger but there's no book on rigging. ~ Richard Serra

He looked at me the way you'd look at a poodle that suddenly started reciting Hamlet. ~ Serra Elinsen

As, however, the port in reality lies in thirty-two degrees thirty-four minutes, according to the observations that have been made, they went much beyond it, thus making the voyage much longer than was necessary. ~ Junipero Serra