Quotes of All Topics . Occasions . Authors
Yeah, I think of what I do as a work of journalism. It's more like the op-ed page, though. These are my opinions. My point of view. The opinions are mine and I let you make up your own mind.
I used to take 'Visions of Cody' by Jack Kerouac on tour all the time. I don't really love Kerouac, but that book, you could just open at any page and find something incredible for that day.
A lot of the girls my age were impressed by silly stuff like money and fame. I wanted to be able to have intellectual and spiritual conversations with someone who was on the same page as me.
On 'Stranger Than Fiction,' the script was so good that I stuck to every line because it was just such brilliant writing from Zach Helm that I felt like I really just want to shoot the page.
Sometimes I have thought that a song should look disappointing on the page - a little thin, perhaps, a little repetitive, or a little on the obvious side, or a mixture of all of these things.
I hate it when, by page 30, I know what the lead's going to do and then what the bad guy's gonna do. Mostly it's just scripts by the numbers where nothing's surprising, nothing's interesting.
On one hand, my gender has never been an issue. The issue has always been what's on the page. But the reality is, an awful lot of women fought an awful lot of battles to get me to that place.
Sharon Shinn is a lover of words and a builder of worlds. She makes science-fiction seem like fantasy. Her characters jump off the page, finding their way under your skin and into your heart.
I always write to understand my place in the world. I can see myself and my life unfold on the page, and I can understand my strengths, my weaknesses - I can see where I need to step up a bit.
If you want to page me, It's OK! I've actually had guys tell me they were fans from the 'Kim Possible' days. And I've met people who still have the 'Kim Possible' theme song as their ringtone.
For me, it's always about what's on the page. I have tremendous respect for writing. When you recognize good writing, and you're lucky enough to get it, like with 'Lost,' that's what I follow.
If I could, I want to take a page from the George Clooney-like actors of the world. They do things that are relevant, things that don't necessarily have huge box office appeal, but they matter.
It would absolutely suck if you paid a few bucks for a book only to find that on the first page it said, 'Once upon a time they all lived happily ever after' and the rest of the book was blank.
On radio and television, magazines and the movies, you can't tell what you're going to get. When you look at the comic page, you can usually depend on something acceptable by the entire family.
I better make the plot good. I wanted to make it grip people on the first page and have a big turning point in the middle, as there is, and construct the whole thing like a roller coaster ride.
I still get up every morning at 4 A.M. I write seven days a week, including Christmas. And I still face a blank page every morning, and my characters don't really care how many books I've sold.
You start at the end, and then go back and write and go that way. Not everyone does, but I do. Some people just sit down at the page and start off. I start from what happened, including the why.
I admired Eugene McCarthy's courage and although I left his Senate staff after four years to accept a job as the researcher on the editorial page of the 'Washington Post,' I remained an admirer.
It's difficult for me to feel that a solid page without the breakups of paragraphs can be interesting. I break mine up perhaps sooner than I should in terms of the usage of the English language.
On a Bioware game, if I say anything that's not on the page, It would create a bug in the system, and it would kick back, and I would have to do it again due the technical demands they deal with.
It's a comedy thriller, brilliantly written and it's full of twists and turns at every page. When I was reading it I was desperate to get to the end to find out what happens, it really hooks you.
Indians were here first - it's about time. We're way behind the African Americans and Hispanic Americans in getting politically involved, but we're beginning to take a page out of their notebook.
I've never written about my husband, Steve, or any of my children because I know them all too well. I see them in all their complexities which makes them impossible to render on the printed page.
I'll write maybe one long paragraph describing the events, then a page or two breaking the events into chapters, and then reams of pages delving into my characters. After that, I'm ready to begin.
He has such a patronizing tone and manner, and such a sarcastic sense of humor. I found him rather brutal, a kind of elegant brutality which appealed. No, I think he came pretty much off the page.
What I value in books is lucidity. I want the language to be rich; I love lexical fireworks on the page, but I have to know what it means. I want to be surprised and delighted, not merely baffled.
The decisive moment in the defeat of upper class, capital-S, Society may have come when, in newspapers all over the nation, what used to be call the Society page was replaced by the Style section.
I have on my wall right now a front page of the 'Journal' from January 1991, when I co-wrote a front-page story about Iraq firing missiles at Israel. By October, I was writing about tech products.
Ghostery lets you spy on the spies in your computer. For each web page you visit, this extension uncloaks some - but not all - of the invisible tracking software that is working behind the scenes.
Time and time again, I see former teammates, and we talk about it. It feels like we are all on the same page: We enjoyed the regular season, but we were disappointed in not making the World Series.
I'm always a little bit cautious around invented terminology because so much science fiction is off-putting to the uninitiated. You open up the first page, and it's full of all these made-up words.
Stop worrying about the 'dumbing down' of our language by bloggers, tweeters, cableheads and MSM thumbsuckers engaged in a 'race to the bottom' of the page by little minds confined to little words.
Any time you read a book and get attached to the characters, to me it's always a shock when it goes from page to screen and it's not exactly what was in my head or what I was imagining it should be.
But a writer's contribution is literary and a film is not literary. When you take that stuff off the page, and cast the people who are going to fit into those roles, that's what being a director is.
There's a project that I started at HHS called the Health Data Initiative. The whole idea was to take a page from what the government had done to make weather data and GPS available back in the day.
Every few years, I think, 'Maybe now I'm finally smart enough or sophisticated enough to understand 'Ulysses.' So I pick it up and try it again. And by page 10, as always, I'm like, 'What the hell?'
In comparison, Google is brilliant because it uses an algorithm that ranks Web pages by the number of links to them, with those links themselves valued by the number of links to their page of origin.
I like to write books that I would have liked as a child, that would have got me thinking and imagining beyond the words on the page. In a way, my audience is always how I remember myself as a child.
I wanted to feel like an artist for once in my life. I wanted to use other producers for respect, to let them know that I listen to other people's music and that I'm just not out here on my own page.
Even if people would know who we are, or you could click on a Wikipedia page saying my date of birth, it does not necessarily mean that I have to go out on social media and tell you where I'm eating.
Usually, when people get to the end of a chapter, they close the book and go to sleep. I deliberately write a book so when the reader gets to the end of the chapter, he or she must turn one more page.
They put it on the page because it sounded good or it looked good or they read it in a book somewhere that this is how you structure a script or something, and they just don't get it. It's surprising.
TNT is a really great company to do a show for. They really believe in their shows and give shows a lot of support. They have it all worked out before you start shooting. Everybody's on the same page.
I think everyone's different but in comedy, I try to do my scene to make the director and the other actors laugh. If I can make them laugh and we have the same sensibility, then I'm on the right page.
To this wonderful page in our country's history another more glorious still will be added, and the slave shall show at last to his free brothers a sharpened sword forged from the links of his fetters.
I think readers' imaginations are far more powerful than anything you can put on a page and, therefore, can conjure up graphic images for themselves, which I think you just have to nudge them towards.
You can write a script, but that's just a starting point as a cartoonist. The heart of the process comes when you start to draw it, and you work out how to lay the page out, how best to tell the story.
Sometimes when you write something on the page, it can seem very funny, but when you act it out - and this happens to me a lot, actually - the melancholy of the situation becomes more front and center.
I'm trying to make the poems as musical as I can - from the inception. So that whether they're read on the page, or people read them aloud, or I read them aloud, the musicality will be kind of a given.
I look for those moments that are 'gee whiz' moments. There's some 'gee whiz' stories in our show, and they can't be written like A-1 in the Times. They have to be written more like Page 6 in the Post.