A Quote by George Pelecanos
A lot of guys are walking around with a lot simmering beneath the surface, and sometimes it explodes.
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There's been a lot of coaches, a lot of guys at Stanford, a lot of guys at my high school. A lot of guys in the NBA. Bill Cartwright comes to mind, a lot of people I've learned from.
The underlying tension of a lot of my art is to try and look through the surface appearance of things. Inevitably, one way of getting beneath the surface is to introduce a hole, a window into what lies below.
I worked out with a lot of guys with NBA experience around Atlanta, guys like Dwight Howard or Dion Glover sometimes or Josh Smith sometimes. They just tell me to keep working hard and it will pay off.
I’m familiar with a lot of guys, hang out with those guys. A couple of my teammates actually went to Florida, so I’m familiar with a lot of those guys. It's going to be fun walking out with a victory and rubbing it in their faces.
I cry a lot. My emotions are very close to my surface. I don't want to hold anything in so it festers and turns into pus - a pustule of emotion that explodes into a festering cesspool of depression.
If you go out in the country, spend a lot of time on decaying farms, and you see a lot of crumbling tobacco farms, and wandering the woods, there's something beneath the surface; there's something older... more sinister.
I think a lot of times what practice can do for you when guys are playing a lot of minutes, it sometimes takes away a little bit of their sharpness, because they have the puck a lot and all that.
Heather A. Slomski's stories are downright addictive. I kept promising myself to turn off the light after just one more, and then breaking that promise, beguiled by her cool, measured prose and by the surprises, tensions, and uncanny encounters simmering beneath its elegant surface.
If you actually dissect the lyrics in 'Motley Crue', you'll notice that there's a lot going on beneath the surface.
I think my cruelty hides beneath the surface a lot more than Sue Sylvester's.
I grew up in a very masculine environment. So I was around a lot of men, my brothers and their friends. There was just a lot of guys around.
There is a lot more to me than just walking guys down. I have speed, I have power, I have a crazy uppercut, I can move to the side. There are a lot of ways I can get it done.
I use a lot of narration; I have a very prosaic style. I like to get you invested in the character first and do a lot of work in the first pages of each issue to try to re-establish things and keep the symbolism of a story very tucked beneath the surface.
'The Wonder Years' family was the kind where everything seemed to be bubbling and simmering with the occasional explosion. There were a lot of things that went unsaid in that family. In my family, everything is said - on the surface, you scream and yell about it, and three minutes later, you're all friends.
I think any time you bring those guys in, one with a lot of playoff experience, with rings - those guys won - guys in the locker room gravitate towards those guys. Those guys have been there, so there's a lot that they can teach the guys.
The engine room really is a metaphor for my head, and all the things bangin' around, and I think I share that with a lot of people. A lot of memories, and a lot of hopes, and a lot of just dealing with the day-to-day. Sometimes it gets all abstract.
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