Quotes of All Topics . Occasions . Authors
A postcard. Neat handwriting fills the rectangle. Half my days I cannot bear to touch you. The rest of my time I feel like it doesn’t matter if I will ever see you again. It isn’t the morality, it’s how much you can bear. No date. No name attached.
I always write my first draft in longhand, in lined notebooks. I move around the house, sitting where I like, and watch the words spool out in front of me, actually taking a lot of pleasure in the way they look in my strange handwriting on the page.
It is really important that focusing on things such as spelling, punctuation, grammar and handwriting doesn't inhibit the creative flow. When I was at school there was a huge focus on copying and testing and it put me off words and stories for years.
For a long time I wanted to draw, but I could never get the proportions right. My still life sketches were the artistic equivalent of someone who has misjudged the space constraints of a postcard, the handwriting shrinking uncomfortably at the bottom.
Handwriting challenges aside, I love paper cards. I love the endless stewing involved in picking them out at the store. I love buying holiday stamps at the post office, and I love that 'whoosh' sound the cards make when I drop them into the mail slot.
My dad was always there, even though he wasn't living in our house. He was always on the phone, always just a car ride away. Whenever he had a new recording, we would be the first to get the acetate. And it would say, in Dad's handwriting, 'Play it loud.'
Each year, in my quaint efforts to send out paper holiday cards with personal messages, I probably discard one for every three I actually manage to put in the mail. The reason is that my handwriting is now less legible than it was when I was in the second grade.
Sometimes I think there ought to be a coat of arms for all of us who listen to Oberst's band Bright Eyes past the age of twenty-six. 'With Love and Shame,' the motto would read. The handwriting would be the cramped and tortured scribble of a high school freshman.
When I was very little, four or five, I did comic strip drawings, so my first novel had no words. I couldn't write and thought adult handwriting was a mysterious scribble. When I was 14, my grandmother gave me a typewriter and I started writing in a different way.
The drawings in 'Portal' were actually me scribbling that stuff... I had a funny moment when I realized that someone gotten 'The cake is a lie' tattooed on themselves. It was really interesting to see my handwriting tattooed on another human being. That... that's odd.
I'm a big journaler, so for every new journal, I would change the way my room looked and change the posters on the walls, and I would change what I was wearing, and I would have a playlist, and it all kind of corresponded and matched, and I would change my handwriting in the journals.
The handwriting is on the wall: if you want to have your franchises viable, then you can't have a situation where New York and Chicago and Los Angeles are doing very, very well, and some other teams are, but, I would say, a significant percentage of the teams in our league are struggling financially.
I have a way of filming things and staging them and designing sets. There were times when I thought I should change my approach, but in fact, this is what I like to do. It's sort of like my handwriting as a movie director. And somewhere along the way, I think I've made the decision: I'm going to write in my own handwriting.
One day, I was at my grandmother's house, and I found diaries that she kept as a young girl. I opened one to a page that had flowers glued inside. In her childish handwriting, my grandmother wrote, 'Pap died today. I am very sad.' The fact that this was true and that I could see the withered flowers made a huge impression on me.
I just believed in 1979 that prog rock was finished. I just saw the handwriting on the wall. And I believed that if we continued in that direction, our career would be finished. So I kind of led the band to making 'Cornerstone,' which is an album from my point of view which was not trying to be necessarily softer, but more natural.