A Quote by John August
When Tim asked me to do Frankenweenie, he had his original sketches from before he did the short, of what Sparky looked like, and he drew Victor and some of the other crucial people. The remarkable thing about working with Tim is that, once he's read a script, he sketches out everybody else.
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You're looking, moment by moment and scene by scene, how you can tell the most interesting story. So, we had this great short and we knew that we had a story about a boy and his dog. Because we had that pure emotional core, we could go on crazy tangents and always come back to Victor and Sparky. When I wrote in stuff like Weird Girl and the cat poop, Dutch Day and the windmill, it felt like it was part of Tim's universe.
The kitchen was bright, cheerful yellow, the walls decorated with framed chalk and pencil sketches Simon and Rebecca had done in grade school. Rebecca had some drawing talent, you could tell, but Simon's sketches of people all looked like parking meters with tufts of hair.
Working on 'Drive', a lot of fun. This is Tim Minear whom I've worked with before on 'Firefly' of course. He called me up and said, 'I've got a part for you that you will love,' and I love Tim's writing. I love his stories. I love his characters, his dialogue. He has a knack for reveals and he has a knack for moments.
Working on Drive, a lot of fun. This is Tim Minear whom I've worked with before on Firefly of course. He called me up and said I've got a part for you that you will love and I love Tim's writing. I love his stories. I love his characters, his dialogue. He has a knack for reveals and he has a knack for moments.
I have a very dear friend, a great painter, called me up very upset, the work wasn’t going well… He asked me to come to his studio -- which I did -- I looked around at the work, dozens of sketches, drawings, large pictures, and I was very close to his work, intensely involved with his work, and he asked me, ‘What’s wrong?’ And I said, ‘Simple – it’s a loss of nerve.
Tim Bee has demonstrated his toughness and his compassion, his ability to lead while at the same time listening to others. These are skills few people in public life have. We need Tim Bee working for us in Congress.
I believe in sketching because there is something very sensitive in sketching, you know, in sketches that you don't have out of a computer that looks the same like everybody even if, later on, the dresses are OK, but I like to sketch, and I like to see trails made after my sketches that look the same. It is you know, what I like.
Working with Tim Burton is like a psychic experience -Tim waves his hands and says, 'I don't know,' and you go home and do it. He's the most articulate nonverbal person in the world. He doesn't say a word, and you know exactly what it means.
Tim Thomas is about excuses. It's always somebody else's fault. He said I was jealous? He should thank me for helping him get that contract. He said I didn't show? They traded me, they traded Ray, they traded Big Dog [Robinson] and Tim Thomas still wasn't the man on that team. Michael Redd became the man there. I think I'm doing quite well for myself here. Right now, he needs to focus on his game. Right now, he's not a good basketball player. And I like Tim Thomas. He just has too many damn excuses.
I remember when I was young, before we started lifting and working out, I looked like I was bench-pressing other humans. I looked different than other girls. I had to be OK with the fact that I had a strong physique, no matter if people looked at me in an accepting way or not.
Yeah, in every film that I've been lucky enough to do with Tim, there's always some form of torture, and the nails were Tim's idea. They were the length of the fingers and stuff, but it was okay because I had a troop of people who would help me go to the bathroom. They had to have treatment afterwards but they're okay now. That is true.
I carry a notebook full of sketches of pictures I want to take - they are really scruffy sketches, but at least I am going out there with a clear objective.
One of the high points in my career came from a time I had with Tim Conway on a film when I had him fall down with laughter. I had this scene with him where I was this mechanic down fixing his car. I can't remember what my line was as written, but they were okay with me doing a made-up line. So Tim asks me what's wrong with his car, and I look up and say, "Well, looks like you got a squirrel caught up in there."
I think the Democrats did a terrible disservice, the Hillary Clinton campaign did, to Tim Kaine. Tim Kaine had the earned reputation of being one of the most respected and well-liked, and not cheap partisan members of the United States Senate. And they turned him into an attack dog.
People get this very romantic vision of a fashion designer who in one night makes 25 sketches and in the morning throws them on the table and there are a lot of women in white aprons with the pins on the lapel and they start to grab the sketches and... It's not like that.
I remember Tim Meadows gave me a radio. It was a radio he didn't want anymore. I gave it to my grandmother, and she had it 'til the day she died. To me, it was, 'I got a thing from Tim Meadows!' I think my grandmother was like, 'I got a thing from my grandson!'
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