A Quote by Caterina Scorsone
When I was three and a half years old, I heard my big sister tell my mum that at school that day all the kids sat on the floor and watched 'The Neverending Story.' Having never heard of the movie, I concluded that this was what school must be: sitting cross legged on the floor listening to a never-ending story. Page after page.
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I had a financial page to write in the Mail on Sunday where I'd give tips on shares. I worked there for two and a half years. Nothing compares to the burst of energy felt on a newsroom floor when a big story breaks.
I had a financial page to write in the Mail on Sunday where Id give tips on shares. I worked there for two and a half years. Nothing compares to the burst of energy felt on a newsroom floor when a big story breaks.
Hip-hop has always been chronologically misunderstood. Too many times, people are hearing the story from the second floor. Nobody's heard the story from the basement. If hip-hop was a cake, all I can tell you is the eggs, the flour, the sugar, the vanilla - the ingredient years.
Too many times, people are hearing the story from the second floor. Nobody's heard the story from the basement.
In 2010, my kids came home telling these ridiculous stories about me they heard from school. I realized my kids didn't know my story, and they were hearing it from the goofballs at school.
I must have been six or seven years old at the time. My family lived on the bottom floor of a two-story house on Cruger Avenue in the Bronx, and every night at 9:30, I sat by my little radio in our kitchen and listened to a half hour of Bing's records regularly spilling out over WNEW.
Conversation on the page should reflect what the story is about. It doesn't have to be "realistic" in the sense that it's something you heard and plugged into a story.
'The Immigrant Story,' which took me about twenty-five years to write, was a very simple story, but I couldn't think of how to tell it. Then twenty years after I started it, I found this one page and realized it was going to be the story. That's the only way you get it sometimes.
I felt like Alan Turing's story was such an important story to tell, and it was so wonderful to write the script and other people find it and say, 'I never heard this story.' It's such an amazing story that people don't believe it.
The first martial arts movie I ever watched was this old Chinese film called 'Five Deadly Venoms.' I was seven years old. My dad and I were sitting in front of the TV on the floor in our living room.
I'm trying to read/edit my story as if I have no existing knowledge of the story, no investment in it, no sense of what Herculean effort went into writing page 23, no pretensions as to why the dull patch on page 4 is important for the fireworks that will happen on page 714.
A man is like a two-story house. The first floor is equipped with an entrance and a living room. On the second floor is every family member's room. They enjoy listening to music and reading books. On the first underground floor is the ruin of people's memories. The room filled with darkness is the second underground floor.
They changed the floor back to old school. They changed the uniform back to old school. Somebody tell the damn players to start playing like old school.
It's hard having kids because it's boring... It's just being with them on the floor while they be children. They read Clifford the Big Red Dog to you at a rate of 50 minutes a page, and you have to sit there and be horribly proud and bored at the same time.
I went to a large consolidated school in Appalachia. And I wrote the story when I was in the second grade and I took it up to the third floor to the school newspaper office that was written and edited by juniors and seniors.
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.
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