Quotes About Page

When you're reading a newspaper and you're seeing ads on the page, it's not kind of invasive. Like, it's on the page next to the article. You can look at it or not. You can turn the page when you're ready. On the internet, the ads - many of the ads - just are so controlling. They insist that you see them.

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.

When I write, the first blank page, or any blank page, means nothing to me. What means something is a page that has been filled with words.

Sometimes you just have to turn the page to realize there's more to your book of life than the page you're stuck on. Stop being afraid to move on. Close this chapter of hurt, and never re-read it. It's time to get what your life deserves, and move on from the things that don't deserve you. Don't try to fix what's been broken in your past, let your future create something better.

As long as my face is on page one, I don't care what they say about me on page seventeen.

I have come to accept that if I have a new haircut it is front page news. But having a picture of my foot on the front page of a national newspaper is a bit exceptional.

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.

I work sometimes from outlines, which are immediately abandoned. Sometimes, when I'm trying to find the characters, I'll sketch things out a bit. Sometimes, outlines help me aim a little bit, but I tend to find it's usually much more interesting, especially with the first draft, to spew it onto the page. I used to get very nervous that, if I write this first rough draft and I die that night, whoever finds it might think that I thought it was good. For me, it's much more important to get some general shape onto the page and later take all the time I need to refine it, fix it, and rewrite it.

The true felicity of a lover of books is the luxurious turning of page by page, the surrender, not meanly abject, but deliberate and cautious, with your wits about you, as you deliver yourself into the keeping of the book. This I call reading.

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.

When I write a book, I write very cleanly from page one to the last page. I hardly ever write out of sequence.

Writing, therefore, is also an act of courage. How much easier is it to lead an unexamined life than to confront yourself on the page? How much easier is it to surrended to materialism or cynicism or to a hundred other ways of life that are, in fact, ways to hide from life and from our fears. When we write, we resist the facile seduction of theses simpler roads. We insist on finding out and declaring the truths that we find, and we dare to out those truths on the page.

It's just a matter of me opening up the page and whatever is written on the page, that's what I'm here to do.

Poetry, I thought then, and still do, is a matter of space on the page interrupted by a few well-chosen words, to give them importance. Prose is a less grand affair which has to stretch to the edges of the page to be convincing.

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.

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 think it shows that sometimes for one person to keep breathing, something else has to stop." (hardcover page 37)

The printed page was like wine to me.

The way you get better is putting words on the page and getting them behind you.

Blindsight is excellent. It's state-of-the-art science fiction: smart, dark and it grabs you by the throat from page one. Like a C J Cherryh book it makes you feel the danger of the hostile environment (or lack of one) out there. And it plays with some fascinating possibilities in human development, and some disconcerting ideas about human consciousness. What else can I say? Thanks for giving me the privilege of reading this.

I created my MySpace page in eighth grade, because that's how all my friends talked to each other, so I made one, too. Then, all of a sudden, my friends started putting my songs on their profiles, and then their relatives, their friends in different states did.

My last page is always latent in my first; but the intervening windings of the way become clear only as I write.

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.

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.

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)

Movies are collective, cooperative endeavours, which I like a lot. But writing is all up to you, it's what's so scary; it's just you and that page. But I really like it a lot.

I don't care who you are. When you sit down to write the first page of your screenplay, in your head, you're also writing your Oscar acceptance speech.

What's beautiful about art is that it circumscribes a space, a physical and mental space. If you try to put the entire world into every page, you turn out chaos.

I find it interesting that people often seem to believe that authors of realistic fiction are directly translating their personal experiences into their work. The fact is that telling a story is a transformative experience. There is rarely a one-to-one translation onto the page unless you're writing memoir, and even then, memory is unreliable. I think that the best books feel emotionally true, and that truth has to be rooted in real-world experience.

There was something awful about terror trapped behind silence. About latent emotions that couldn't be acted out." "Cole's thoughts on page 248 of Linger.

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.

He is a man of the Night's Watch, She thought, as he sang about some stupid lady throwing herself off some stupid tower because her stupid prince was dead. The lady should go kill the ones who killed her prince. Arya Stark (page 514)

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 real importance of reading is that it creates an ease & intimacy with the process of writing... It also offers you a constantly growing knowledge of what has been done and what hasn't, what is trite and what is fresh, what works and what lies there dying (or dead) on the page. The more you read, the less apt you are to make a fool of yourself with your pen or word processor.

Every so often I take out a volume and read a page or two. After all, reading is looking after in a manner of speaking. Though they're not old enough to be valuable for their age alone, nor important enough to be sought after by collectors, my charges are dear to me, even if, as often as not, they are as dull on the inside as on the outside. No matter how banal the contents, there is always something that touches me. For someone now dead once thought these words significant enough to write them down.

Most writing doesn’t take place on the page; it takes place in your head.

So they ended up turning this little twenty eight page book into the movie. And it's all about this stinky, smelly ogre who doesn't care what anybody thinks of him.

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.

My strong suit is that I've been willing to risk on the page to get somewhere interesting.

I don't have an e-reader. One reason is that I like to dog-ear the page when I find a particularly good sentence or passage.

There is only one recipe for a best seller and it is a very simple one. You have to get the reader to turn over the page.

Once, I'd written a Western story, and one of the panels was just a hand holding a six-shooter, and there was a puff of smoke coming out of the barrel, and a straight horizontal line, indicating the trajectory of the bullet. So that page was sent back to me from the Code office, saying that the particular panel was too violent. I asked them what they meant, and they told me--I swear--"The puff of smoke is too big." Well, of course. So I had the artist make the smoke a little smaller, and the youth of America was saved.

I actually enjoy working with green screen, because I can imagine all that stuff happening, and I really cut my teeth on a movie I made called "Adaptation" where I had to imagine four-page dialogue scenes with my twin brother, who was nothing more than a tennis ball and a gas stand.

One must go for a film with an open mind; a film best impacts you when your mind is a blank page to the film.

In a badly designed book, the letters mill and stand like starving horses in a field. In a book designed by rote, they sit like stale bread and mutton on the page. In a well-made book, where designer, compositor and printer have all done their jobs, no matter how many thousands of lines and pages, the letters are alive. They dance in their seats. Sometimes they rise and dance in the margins and aisles.

In the morning, I reach for the sports page.

One of my friends who writes novels says that once the book is published, it's a separate thing from you; it becomes its own. I feel that way when I read - and that applies to the experience of reading my work in public, too. The essays are a barrier between me and the audience, and it feels like a disappearing act. Poof! I'm gone, and the woman I've created on the page emerges.

In literary composition a well-chosen quotation lights up the page like a fine engraving.