A Quote by Gwethalyn Graham
for every person who's stepped out of line and lived to regret it, there are two people who stayed in line because they got their values mixed and lost their nerve, and who have lived to regret it still more. You don't hear about those people because they're still in line where they don't show.
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Regret is not an apology. I regret that I ran the stop sign, right, but, yeah, I'm not sorry for what I speaking. I regret that because I got a ticket. You can regret things and still not be sorry for them.
There's no regret. You can't regret. I mean, I've felt regret but I've also refused to allow regret to sow a seed and live in me because I don't believe it. You feel it, it's like guilt, it's like jealousy, it's like all those horrible things. You've just got to snip them and get them out, because they're no good.
I still have no way to survive but to keep writing one line, one more line, one more line.
We like to be punks. We like to still be kind of edgy and if being edgy means you might teeter on that line of being inappropriate, I'm still willing to teeter on that line, even at my age. But some of them go over that line and you've gotta draw that line somewhere.
I'm not aware of a cadence when writing, but I hear it after. I write in longhand, and that helps. You're closer to it, and you have to cross things out. You put a line through it, but it's still there. You might need it. When you erase a line on a computer, it's gone forever.
For most of the guys, killings got to be accepted. Murder was the only way that everybody stayed in line. You got out of line, you got whacked. Everybody knew the rules.
I start out with words, with the idea, the line. Then after I get a line or two, I try to find what melodic line those lines would be suited to. As soon as I find the form I can finish the song in my head.
In my dreams and visions, I seemed to see a line, and on the other side of that line were green fields, and lovely flowers, and beautiful white ladies, who stretched out their arms to me over the line, but I couldn't reach them no-how. I always fell before I got to the line.
Instead of thinking in terms of chords, I think of voice-leading; that is, melody line and bass line, and where the bass line goes. If you do that, you'll have the right chord. [These voices] will give you some alternatives, and you can play those different alternatives to hear which one suits your ear. Keep the bass line moving so you don't stay in one spot: if you have an interesting bass line and you roll it against the melody, the chords are going to come out right.
Sometimes people are so close to the material, they miss an important cross-reference. You can't drop this line because half an hour later, it affects that line. And the writer is the person who knows that immediately.
If I keep striving to put on the best quality show based on the values I have, I don't have to think "oh we're crossing the line" because the line is built in. We follow that and do the best quality work we can.
It's great for me to hear those different reactions because when I travel with a movie like this [World of Tommorow], it's very similar. You'll hear a line in one city get a big laugh, and then in another city, the same line kind of gets a gasp, and that's wonderful.
Every job built my career in some way or made me grow as a person or I got to meet someone great. I had one line on The Fresh Prince of Bel-Air, but I met Will Smith and he took 20 minutes out of his day to talk to the kid with one line. To this day, I think that guy is amazing because of that.
I think it was Tommy who told me, 'When your song is called 'XYZ' or whatever, every line has got to make sense against your title.' He showed me little methods of proving to yourself whether the line belongs, and ways of finding out whether you were able to get more out of a line if you tried.
I've always noticed talking about lyrics is like talking about a duality. It's like a Gemini time every time I talk about one line. Because each line, of course, means different things to different people, millions of interpretations. With me, I always see two sides. I just see things split into two.
A moment comes in war when the last line must be crossed. The line that separates what you hold dear from what total war demands. If he couldn't cross that line, the battle was over, and he was lost. His heart, the war. Her face, the battlefield. With a cry only he could hear, the hunter turned. And ran.
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