Quotes About Page

If it bothers me on the page, I don't do it. If it attracts me on the page and moves me, makes me think a bit, makes me laugh, makes me cry, I'm interested in it. If it's there on the page, it means it's there and up to me to bring it out. I have done some films along the way that have been screwed up and not as good as they read. Some films that are not that good on the page turn into good movies. So I'm fallible is what I'm saying.

When I used to go on the Wikipedia page, and I haven't gone on the page in a while, there used to be some guy who was doing my page and he would say that he was my cousin and I was going to be doing projects with him. I don't know who this person is and I don't have a cousin by this name and this person keeps saying that they're doing projects with me. It's so weird.

The definition of a page-turner really aught to be that this page is so good, you can't bear to leave it behind, but then the next page is there and it might be just as amazing as this one.

As for the differences between audio and the printed page, the sonic aspects of poetry are important to me. I read my poems aloud to myself as I'm composing them. And I enjoy reading to an audience. I think people get tone more easily when they hear a writer read her work. Some people have told me they hear more humor in my poems at a live reading than when they see them on the page. I think that may be a matter of pacing. On the other hand, I've listened to a lot of poetry readings and I know how much you can miss. If you stop to really register one line, you miss the next three or so.

I love my editor, but that would be the definition of hell to me to live with someone and have them go page by page through my manuscript. That I want to avoid at all costs.

You know, what is team chemistry? My opinion is when you have enough people who care about winning and enough people who losing affects. That's what chemistry means to me. It doesn't necessarily mean you're going to win, but you're going to have enough people on the same page. It's almost impossible, I think, to get everyone on the same page, but it's gotta mean something to you.

I am obsessed by the idea of silence. I went through an entire library studying art, artists and their critics, philosophers, too, on the meaning and significance of the color white. I dreamed of white birds and white bears. I thought about the white pages of my mother's journals. I became enthralled with John Cage and his work, 4'33”, his masterpiece of ambient sound. Rauschenberg, too. And then at some point I let go. What sticks to the soul is what gets placed on the page. Maybe that's the unknown part, the mystery, the power of the empty page.

Cartooning is completely different from other media: it is closely related to film and prose, other narrative forms, but the skills needed to realize a story are very different, and include not only drawing and writing dialogue and narration, but graphic design and the ability to depict time passing visually. It's a whole suite of skills that has to go into making a comics page, skills that are quite distinct from those that go into writing a page of prose, or making a film.

On the first page of the Bible there is an instance of how literalism is but an invitation to transcend the image to which literalism points. That first page is not geology, biology or paleontology; it is high religion. For there we are told who we are in terms of our constititutive text. And if we could understand that, we would worrying about whether the antelopes or the cantaloupes came in a certain order.

Well, I'm a slow writer. For me, a good day is a page, maybe a page and a half. I'd love to be more efficient, but I am not.

Writing well involves walking the path of most resistance. Sitting still, being patient, allowing the lunatic dream to take shape on the page, then the shaping, the pencil on the page, breathing, slowing down, being willing–no, more than willing, being wide open–to press the bruise until it blossoms.

For what is history, but... huge libel on human nature, to which we industriously add page after page, volume after volume, as if we were holding up a monument to the honor, rather than the infamy of our species.

I have a Facebook page for me and my friends and a Twitter page.

As an artist, as I design and lay out a page, the less-important things, things I want you to spend less time looking at, I draw them very small, maybe even silhouette them. The more-important pivotal scenes, I draw them larger, maybe even a double-page spread.

Reading asks that you bring your whole life experience and your ability to decode the written word and your creative imagination to the page and be a co-author with the writer, because the story is just squiggles on the page unless you have a reader.

Every page was once a blank page, just as every word that appears on it now was not always there, but instead reflects the final result of countless large and small deliberations. All the elements of good writing depend on the writer's skill in choosing one word instead of another. And what grabs and keeps our interest has everything to do with those choices.

Stories never really end...even if the books like to pretend they do. Stories always go on. They don't end on the last page, any more than they begin on the first page.

In 'Tintin,' it's like a live-action role. You're living and breathing and making decisions for that character from page 1 to page 120, the whole emotional arc. In an animated movie, it's a committee decision. There are 50 people creating that character. You're responsible for a small part.

Sometimes you have to say the words exactly how they are on the page, but sometimes when you improv, it only helps to get across what's on the page, and I just love working with directors who allow that.

We are all a volume on a shelf of a library, a story unto ourselves, never possibly described with one word or even very accurately with thousands. A person is never as quiet or unrestrained as they seem, or as bad or good, as vulnerable or as strong, as sweet or as fiesty; we are thickly layered, page upon lying page, behind simple covers. And love - it is not the book itself, but the binding. It can rip us apart or hold us together.

Sometimes I think that maybe we are just stories. Like we may as well just be words on a page, because we're only what we've done and what we are going to do.

Even the lamest page can be saved by collaboration.

It seems like people increasingly just can't be by themselves because they're so used to having an epicenter on the Internet that actually exists for other people. Until someone clicks onto your Facebook page, it doesn't mean anything.

The Never Trumpers, they have never been guided by or governed by the premise that Hillary Clinton needs to lose. If they were on the same page as we all are, that the country, that our country needs for Hillary Clinton and the Obama agenda to lose and be stopped, they don't see that. They never have.

You will learn more about Donald Trump by going down to the federal elections, where I filed a 104-page essentially financial statement of sorts, the forms that they have. It shows income - in fact, the income - I just looked today - the income is filed at $694 million for this past year, $694 million. If you would have told me I was going to make that 15 or 20 years ago, I would have been very surprised.

There's a clarity that comes with great ideas: You can [easily and simply] explain why something's a great business, how and why it's cheap, why it's cheap for temporary reasons and how, on a normal basis, it should be trading at a much higher level. You're never sitting there on the 40th page of your spreadsheet, as Buffett would say, agonizing over whether you should buy or not.

Sometimes, your eyes see something your brain doesn't. You pick up a nmewspaper and yourhead gives you a phrase that you didn't consciously read yet. You walk into a room and you realize something's out of place before you've bothered to properly look. I felt that happening now." "Sam's thoughts on page 304 of Linger.

To attempt to write seriously is always, I feel, to fail - the disjunction between my beautifully sonorous, accurate and painfully affecting mental content, and the leaden, halting sentences on the page always seems a dreadful falling short.

It's easy to actually get the ink on the page, but somehow I've gotta find a way to play this. And I have to find a way to emotionally survive playing this.

I like that every page in every book can have a gem on it. It's probably what I love most about writing--that words can be used in a way that's like a child playing in a sandpit, rearranging things, swapping them around. They're the best moments in a day of writing -- when an image appears that you didn't know would be there when you started work in the morning.

He was intrigued by the power of words, not the literary words that filled the books in the library but the sharp, staccato words that went into the writing of news stories. Words that went for the jugular. Active verbs that danced and raced on the page.

And it's just anathema to being a writer. It's not healthy. But in another way, when I'm writing, what it's about for me is being good on the page. None of that noise could change the way I feel about my writing. Which is not always particularly positive.

In presidential campaign I released a 65-page file from the Syracuse University College of Law that showed poor grades, back in college, also. If I were plagiarizing consistently, my grades would have been better.

Like a page dipped in ink, your cuff's in my coffee. / You have something to tell with unbuttoned sleeves.

I had read a Tale of Two Cities and found it up to my standards as a romantic novel. She opened the first page and I heard poetry for the first time in my life...her voice slid in and curved down trough and over the words. She was nearly singing.

You don't always have to go so far as to murder your darlings – those turns of phrase or images of which you felt extra proud when they appeared on the page – but go back and look at them with a very beady eye. Almost always it turns out that they'd be better dead. (Not every little twinge of satisfaction is suspect – it's the ones which amount to a sort of smug glee you must watch out for.

The New York Times published a full-page hit piece with another claim from an individual who has been totally discredited based on the many many emails and letters she has sent to our office over the years looking for work. The New York Times refused to use the evidence that we presented. If they used it, if they would have looked, they would have said, there's no story here.

Here we meet, on the page, naked and unadorned: shorn of class, race, gender, sexual identity, age and nationality.

But every page having an ample marge, And every marge enclosing in the midst A square of text that looks a little blot.

I killed my Facebook page years ago because time clicking around is just dead time. Your brain isn't resting and it isn't doing. I think people have to get their heads around this thing. All this unmitigated input is hurting folks.

What we know about diets hasn't changed. It still makes sense to eat lots of fruits and vegetables, balance calories from other foods, and keep calories under control. That, however, does not make front-page news.

Always get to the set or the location early, so that you can be all alone and draw your inspiration for the blocking and the setups in private and quiet. In one sense, it's about protecting yourself; in another sense, it's about always being open to surprise, even from the set, because there may be some detail that you hadn't noticed. I think this is crucial. There are many pictures that seem good in so many ways except one: They lack a sense of surprise, they've never left the page.

Sometimes I read a script and it's obvious from early on that it's one where the suspension of disbelief has to develop strongly from page one. Some are more reality-based.

She tore a page from the book and ripped it in half. Then a chapter. Soon, there was nothing but scraps of words littered between her legs and all around her. The words. Why did they have to exist? Without them, there wouldn't be any of this. Without words, the Führer was nothing. There would be no limping prisoners, no need for consolation or wordly tricks to make us feel better. What good were the words? She said it audibly now, to the orange-lit room. "What good are the words?

[T]hat old September feeling, left over from school days, of summer passing, vacation nearly done, obligations gathering, books and football in the air ... Another fall, another turned page: there was something of jubilee in that annual autumnal beginning, as if last year's mistakes had been wiped clean by summer.

I don't know if [Samuel] Beckett is something you ever bring to the beach - get out of the water, towel off, and start reading some of "The Unnamable." Although, because it's the kind of book you can open to any page and start reading, it is beach reading in that way.

Whatever struggle happened between brothers, let us forget about it and turn the page forever and live united.

In the morning, I reach for the sports page.