Quotes About Page

Yes, the fear of its blankness. At the same time, I kind of loved it. Mallarmé was trying to make the page a blank page. But if you're going to make the page a blank page, it's not just the absence of something, it has to become something else. It has to be material, it has to be this thing. I wanted to turn a page into a thing.

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.

Keep writing. Try to do a little bit every day, even if the result looks like crap. Getting from page four to page five is more important than spending three weeks getting page four perfect.

So many people want to live their lives and their dreams through their own Facebook page or their Twitter page. They want to show every detail of their life to everyone in the world. That scares me because I don't have any Facebook page or Twitter I don't like it, I don't want it.

I took my coffee into the dining room and settled down with the morning paper. A woman in New York had had twins in a taxi. A woman in Ohio had just had her seventeenth child. A twelve-year-old girl in Mexico had given birth to a thirteen-pound boy. The lead article on the woman's page was about how to adjust the older child to the new baby. I finally found an account of an axe murder on page seventeen, and held my coffee cup up to my face to see if the steam might revive me.

The only place where you can really surprise or shock the reader, or make someone laugh, is on the lower righthand corner - the very last panel - so as you turn the page, the payoff is in the upper lefthand panel. To pace every story so that there's a setup and a payoff at the page turn was a huge challenge; it's a part of the medium and you really have to learn what can be done in the medium.

We are thickly layered, page lying upon page, behind simple covers. And love - it is not the book itself, but the binding.

Tormented by the cursed ambition always to put a whole book in a page, a whole page in a sentence, and this sentence in a word. I am speaking of myself.

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.

You know very well that whether you are on page one or page thirty depends on whether they fear you. It's as simple as that.

Nobody reads a mystery to get to the middle. They read it to get to the end. If it's a letdown, they won't buy anymore. The first page sells that book. The last page sells your next book.

The first page sells this book. The last page sells your next book.

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.

My writing just kind of exists out there in the air-it's all sort of intended as spoken, or sung, word. So, to commit them to the page...that way was kind of intimidating to me, yet intriguing, to try to reflect the rhythms and connotations and emotions that you can deliver, speaking-wise, on a page.

It's hard to find scripts that know what they are from page one to page 115.

I saw the comics in the East Village Other, and they weren't superhero comics, they were all about hippies and all about things hippies were interested in. And there was one page in particular, a full page strip called "Gentle's Trip Out" signed "Panzika", and it was totally, totally psychedelic, and really, I don't know if it made any sense at all but it looked so great, and I thought, "This is what I want to do, this is my big influence," and it was.

I'm in the storytelling business, and so you're always drawn to the unusual. And early on, I discovered that's the easiest way to tell stories... If you come up through a newspaper as I did, your whole goal is to get a story on the front page, and you only get something on the front page if it's unusual.

You can approach the act of writing with nervousness, excitement, hopefulness, or even despair - the sense that you can never completely put on the page what's in your mind and heart. You can come to the act with your fists clenched and your eyes narrowed, ready to kick ass and take down names. You can come to it because you want a girl to marry you or because you want to change the world. Come to it any way but lightly. Let me say it again: you must not come lightly to the blank page.

Transitions are critically important. I want the reader to turn the page without thinking she's turning the page. It must flow seamlessly.

You have to design a story that might appear on the front page of the newspaper for the website. You don't have to design it in such a way that it can be self contained, that it makes sense if you never hit the front page of it.

I also learned to tell a story. I think I learned from poetry how to time a story. Poetry's timing, beats and pauses. That white space on the page is as important as the black. The bottom of the page is blackout. It's performance.

I tend to cut David Brooks more slack than most people I know do, and I do it for one main reason. He can write. He's the best writer on that page, and I'd usually rather read him than others on that page I'm more likely to agree with.

Having the great opportunity on a daily basis to sit in front of a blank page is terrifying, and at the same time really exciting. I can't actually get better at my job, because every time you finish something you start with a blank page, with nothing.

You don't sit up in a cave and write the Great American Novel and know it is utterly superb, and then throw it page by page into the fire. You just don't do that. You send it out. You have to send it out.

Page one is a diet, page two is a chocolate cake. It's a no-win situation.

A page with a poem on it is less attractive than a page with a poem on it and some tea stains.

And then, at night, the lit lamp and the drawn curtain, with the flutter of the turned page and soft scrape of pen on paper the only sounds to break the silence between quarter- and quarter-chime.

The other book that I worry no one reads anymore is James Joyce's Ulysses. It's not easy, but every page is wonderful and repays the effort. I started reading it in high school, but I wasn't really able to grasp it. Then I read it in college. I once spent six weeks in a graduate seminar reading it. It takes that long. That's the problem. No one reads that way anymore. People may spend a week with a book, but not six.

A rich, multi-dimensional tour of Naples, most brilliant, battered, and bewildering of cities, here fixed to the page with wit and élan. Splendid.

Surviving the grind of 18-hour days and getting up at four in the morning to work out for an hour so I'd have the energy to do it again the next day. I did not know I had that discipline. I did not know I had the discipline to learn a seven-page scene in three hours to shoot that day or the next day. I didn't know that I was capable of realizing that potential.

The fact that we don't' talk about it, that we don't have a politics in which this question of war and peace can even get onto the table, so that we can open up our Orwell, our 1984, or Animal Farm, or whatever, and read the political text that's being spotted to us on the television right off of the page; the fact that we don't have a politics robust enough to actually debate whether or not we want to be a country permanently at war. That's what keeps me from sleeping at night.

The artist is present in every page of every book from which he sought so assiduously to eliminate himself.

I've been saying for years that page view-based advertising is a corrupting force.

The films of The Caine Mutiny and Marjorie Morningstar always seemed to me mere thin skims of the story lines, and I never did see a meager Hollywood caper called Youngblood Hawke, vaguely based on my 800-page novel. So it was that I opted for television, with its much broader time limits, for The Winds of War.

So I forcibly shove aside my prickles of pissed-off, which is easier than it sounds when millions of little sequined caffeine dancers are doing their big Broadway number on your internal stage. (Page 173)

I think hopefully as you're getting older you're getting parts that require more preparation, and by that I just mean - I don't know, usually the older you get you get characters with more responsibility. Each one is different, there are certain movies that when the guy starts you pretty much come with that character on page one and then you see their growth, whereas other guys a lot has happened before that movie starts and you have to come in with something.

What I personally gravitate toward tends to be fantasy, medium dark - not too dark - fairy tales and sci fi. Stop-motion takes something on the page thats really dark and adds a little sweetness to it, a living toys realm.

A DARK MATTER is a page-turning thriller of every sort: psychological, sociological, epistemological . Plus, it's really scary.

Johnny Apple, a New York Times correspondent, wrote a front-page story saying Afghanistan could be a quagmire and he was mocked and derided. What is certainly true is that all sorts of resources that would have been used in Afghanistan were diverted to Iraq. Would those resources have helped? Almost undoubtedly. Whether or not Afghanistan would be a peaceful nation-state had we not gone into Iraq I doubt. Afghanistan is going to be Afghanistan, no matter how hard we try to make it something else.

Whether it is television or film, the character on the page has to speak to me.

I'm partial to coffee shops, brain work, and poems on the page. I write after midnight. Sometimes, twisty syntax happens, and I surrender.

Most people hate that their mum has a Facebook page, but I love that my mum does.

I want you to be afraid to turn the page (and to do that) you need to show right from the beginning that you're playing for keeps.

The water color process takes me and itself to a destination I hadn't even known existed... Whatever I put down on the page, the paint will dry as it wants to.

Regardless of how black the page, he had always managed to turn it and move on to a new chapter in his life.

I am the blank page between the Old and the New Testament.

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.

You can't revise a blank page.