A Quote by Franco Harris

It's not how you come out of the starting blocks. — © Franco Harris
It's not how you come out of the starting blocks.
Music is made up out of these building blocks. Studying how these blocks go together and what they consist of and the math of how it works - it's all the same stuff; it's just different aesthetics that we're talking about.
I say to the women out there, remember how difficult it was for women like Justice O'Connor starting out. Even though she graduated with top grades, she had to take a job as a legal secretary. Remember how far we have come.
I was working with actors who were very easy to work with, but I can just imagine how, with all the other decision-making problems that come up along the way, in addition to that, the whole point of what your doing is following performance and character development. You're building your story with those building blocks, and it is not easy. I've only come out with more respect for directors, from this.
Imagine blocks and blocks of no cocaine, blocks with no gun play.
The old idea is that when tragedy strikes or when an obstacle blocks us, there are only two possibilities. We either become a smaller person or we become a bigger person. If it's a real life change you cannot come out the same. So therefore, you're either going to come out smaller or you're going to rise up and ultimately come out of it a bigger person.
When you look in one direction where Troy's chair was, you could see out through the yard across the street, there was an old cork bar advertisement for five cents. We wanted it to feel like this was real life [in Fences] and that it extended blocks and blocks.
It's weird, sometimes I still see myself as just starting out. I tend to forget how much I've been doing, but in the beginning it is about the hustle, being out there and doing the work. Nothing is going to come to you, you have to get out there and do the work, and I've been doing that. But sometimes it's good to take a break and let these things air out. Reflect and take it in.
You can write a script, but that's just a starting point as a cartoonist. The heart of the process comes when you start to draw it, and you work out how to lay the page out, how best to tell the story.
Talent may get someone off the starting blocks faster, but without a sense of direction or a goal to strive for, it won't count for much
It is so weird to be on this side of that, because when you're starting out, and it seems like you're starting out for so long, you look up to the people who have made their mark. And you sort of want to be that.
We're such a funky species. We're so violent, so greedy - this is how we roll. But what are we going to do about it? How do we move forward given who we are? Because situations don't come out of nothing. They come out of certain conditions.
Because of my age and what I do for a living and the amount of time that I've spent away from my family and loved ones, I'm starting to relate more to the late-period Kerouac stuff in the way that I once related to the fun and excitement of the early material. There's a darkness inside of me that I'm only now starting to come to grips with and accept. And it's starting to scare me.
A woman asked me recently, "What are the blocks to my happiness?" I said, "The belief that you have blocks."
When you're young and starting out, a lot of artists think they know exactly who they are. There are others who come out in someone else's skin. They learn to take it off bit-by-bit and work out the core of what they're trying to say.
People forgot; it was in the nature of people to forget, to blur boundaries, to retell stories to come out the way they wanted them to come out, to remember things as how they ought to be instead of how they were.
[sam] Kinison, when he started out, he'd come to Canada when I was first starting, and he'd always [bomb].
This site uses cookies to ensure you get the best experience. More info...
Got it!