Rm Inspirational Quotes

Words are powerful. Words make a difference. They can create and destroy. They can open doors and close doors. Words can create illusion or magic, love or destruction. … All those things.

When our ancestors were attacked at Pearl Harbor, they called it a day that would live in infamy. The day the Partials attacked us with the RM Virus will not live in anything, because there will be none of us left to remember it." -President David R. Cregan, March 21, 2065, in a press conference at the White House. Three hours later he hanged himself.

She was never crazy, she just didn't let her heart settle in a cage. She was born wild.. and sometimes we need people like her. For it's the horrors in her heart which cause the flames in ours. And she was always willing to burn for everything she has ever loved.

God gave us free will so that we might choose our own destinies. He left it up to us to achieve them.

What is hell to a writer? Hell is being too busy to find the time to write or being unable to find the inspiration. Hell is suddenly finding the words but being away from your notebook or typewriter. Hell is when the verses slip away through your fingers and they never return again.

Ang kamatayan ay hindi isang ritwal kundi isang tulay papunta sa pinili mong buhay (p. 341).

Sometimes changing the world is as simple as changing the way you look at it.

Jay would return to New York one day. When he did, he would make something of himself--not by way of luck or happenstance, but by means of his own industry. One day he would make New York his own. This indisputabe fact was his inescapable destiny. Only, he wasn't quite ready for that--not yet.

In the end we're all on a journey of sorts. We wait for a sign or something that attracts our attention. Look for a deeper meaning to it all. That's what poetry is for. Searching.

To understand this first event, you need to know that we rely on Unix and Linux machines to store the thousands of computer files that comprise all the shots of any given film. And on those machines, there is a command—/bin/rm -r -f *—that removes everything on the file system as fast as it can. Hearing that, you can probably anticipate what’s coming: Somehow, by accident, someone used this command on the drives where the Toy Story 2 files were kept. Not just some of the files, either. All of the data that made up the pictures, from objects to backgrounds, from lighting to shading, was dumped out of the system. First, Woody’s hat disappeared. Then his boots. Then he disappeared entirely. One by one, the other characters began to vanish, too: Buzz, Mr. Potato Head, Hamm, Rex. Whole sequences—poof!—were deleted from the drive. Oren

We need to be humble enough to recognize that unforeseen things can and do happen that are nobody’s fault. A good example of this occurred during the making of Toy Story 2. Earlier, when I described the evolution of that movie, I explained that our decision to overhaul the film so late in the game led to a meltdown of our workforce. This meltdown was the big unexpected event, and our response to it became part of our mythology. But about ten months before the reboot was ordered, in the winter of 1998, we’d been hit with a series of three smaller, random events—the first of which would threaten the future of Pixar. To understand this first event, you need to know that we rely on Unix and Linux machines to store the thousands of computer files that comprise all the shots of any given film. And on those machines, there is a command—/bin/rm -r -f *—that removes everything on the file system as fast as it can. Hearing that, you can probably anticipate what’s coming: Somehow, by accident, someone used this command on the drives where the Toy Story 2 files were kept. Not just some of the files, either. All of the data that made up the pictures, from objects to backgrounds, from lighting to shading, was dumped out of the system. First, Woody’s hat disappeared. Then his boots. Then he disappeared entirely. One by one, the other characters began to vanish, too: Buzz, Mr. Potato Head, Hamm, Rex. Whole sequences—poof!—were deleted from the drive. Oren Jacobs, one of the lead technical directors on the movie, remembers watching this occur in real time. At first, he couldn’t believe what he was seeing. Then, he was frantically dialing the phone to reach systems. “Pull out the plug on the Toy Story 2 master machine!” he screamed. When the guy on the other end asked, sensibly, why, Oren screamed louder: “Please, God, just pull it out as fast as you can!” The systems guy moved quickly, but still, two years of work—90 percent of the film—had been erased in a matter of seconds. An hour later, Oren and his boss, Galyn Susman, were in my office, trying to figure out what we would do next. “Don’t worry,” we all reassured each other. “We’ll restore the data from the backup system tonight. We’ll only lose half a day of work.” But then came random event number two: The backup system, we discovered, hadn’t been working correctly. The mechanism we had in place specifically to help us recover from data failures had itself failed. Toy Story 2 was gone and, at this point, the urge to panic was quite real. To reassemble the film would have taken thirty people a solid year. I remember the meeting when, as this devastating reality began to sink in, the company’s leaders gathered in a conference room to discuss our options—of which there seemed to be none. Then, about an hour into our discussion, Galyn Susman, the movie’s supervising technical director, remembered something: “Wait,” she said. “I might have a backup on my home computer.” About six months before, Galyn had had her second baby, which required that she spend more of her time working from home. To make that process more convenient, she’d set up a system that copied the entire film database to her home computer, automatically, once a week. This—our third random event—would be our salvation. Within a minute of her epiphany, Galyn and Oren were in her Volvo, speeding to her home in San Anselmo. They got her computer, wrapped it in blankets, and placed it carefully in the backseat. Then they drove in the slow lane all the way back to the office, where the machine was, as Oren describes it, “carried into Pixar like an Egyptian pharaoh.” Thanks to Galyn’s files, Woody was back—along with the rest of the movie.

Keep fighting my friend. Life is a journey and while some days are not as good as others, everyday is an adventure.

Keep fighting my friend. Life is a journey, and while some days are not as good as others, everyday is an adventure.

To understand this first event, you need to know that we rely on Unix and Linux machines to store the thousands of computer files that comprise all the shots of any given film. And on those machines, there is a command—/bin/rm -r -f *—that removes everything on the file system as fast as it can. Hearing that, you can probably anticipate what’s coming: Somehow, by accident, someone used this command on the drives where the Toy Story 2 files were kept. Not just some of the files, either. All of the data that made up the pictures, from objects to backgrounds, from lighting to shading, was dumped out of the system. First, Woody’s hat disappeared. Then his boots. Then he disappeared entirely. One by one, the other characters began to vanish, too: Buzz, Mr. Potato Head, Hamm, Rex. Whole sequences—poof!—were deleted from the drive.

Because of the many casualties that had happened in homemade bunkers, we were warned to no longer use them. We were told that the homemade shelter we had laboriously constructed in the basement of our building was useless and now could not even give us the illusion of being a safe haven. Instead a massive new suburban air raid shelter had been built of reinforced concrete, which was eleven feet thick in places. The structure was near the tram stop where the Feudenheimer Strasse became the Haupt Strasse or Main Street. Even with a war going on with lives at stake, Nazi style commercialism was alive and well, as we rented a room in this nearby bunker for six Reichmarks a night. At the time $1 = RM 2.50. The small room had four beds and we were told to be there prior to 18:00 hours or six o’clock in the evening. Concussions from the bombs were of primary concern and everything was designed to minimize their effect. The pathway to the entrance of this bunker was a zigzagged concrete walk protected by sandbags, as this helped to reduce the concussion from an air blast. Tall bushes and grass as well as riverweed, were planted strategically to absorb the bomb bursts from across the river.

first of which would threaten the future of Pixar. To understand this first event, you need to know that we rely on Unix and Linux machines to store the thousands of computer files that comprise all the shots of any given film. And on those machines, there is a command—/bin/rm -r -f *—that removes everything on the file system as fast as it can. Hearing that, you can probably anticipate what’s coming: Somehow, by accident, someone used this command on the drives where the Toy Story 2 files were kept. Not just some of the files, either. All of the data that made up the pictures, from objects to backgrounds, from lighting to shading, was dumped out of the system. First, Woody’s hat disappeared. Then his boots. Then he disappeared entirely. One by one, the other characters began to vanish, too: Buzz, Mr. Potato Head, Hamm, Rex. Whole sequences—poof!—were deleted from the drive.

We write because the blank piece of paper and the pen are there. We write because this is our addiction and we are proud of it. Our habit, our drug, our crutch. Whatever you wish to call it. We write because since an early age we felt it deep in our souls and in our bones. The poem must be written, the story must be told and the new myths and Gods are waiting for you to bring them forth from out of the darkness and to bring them into the light of being. You are a creator, so create. You are the writer. So write.

Books are pieces of your soul that you lend out to other people.

A shattering annihilation, a feeling of being inside an explosion, and being fragmented into countless tiny shards. I felt as though I was being turned inside out, as though my innards were extruding through my mouth. My body was apparently rolling on the ground (as I later realized), coiled into a ball like the ourobouros serpent. All distinctions between inner and outer, self and other, above and below, were obliterated. Animal sounds appeared to be coming from my mouth. There were no feelings of fear, indeed no feelings at all, other than a kind of impersonal ecstasy. No sense of body, no sense of self, no “I” – only a sparkling sense of awe-inspiring beauty (RM).

I think all the ways we've failed to serve others will matter much more in the end than all the ways we've over-served ourselves.