A Quote by Lucy Maud Montgomery
When I think something nice is going to happen I seem to fly right up on the wings of anticipation; and then the first thing I realize I drop down to earth with a thud. But really, Marilla, the flying part is glorious as long as it lasts. . . it's like soaring through a sunset. I think it almost pays for the thud.
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I can't help flying up on the wings of anticipation. It's as glorious as soaring through a sunset... almost pays for the thud.
Children who have been in work for a long time suddenly get a thud down to earth once the cuteness fades, hips widen, voices drop and jawlines strengthen.
But new love only lasts so long, and then you crash back into the real people you are, and from as high as we were, it's a very long fall, and we hit the ground with a thud.
I'm gone, lost, floating away into nothingness like I am in my dream, but this time it's a good feeling - like soaring, like being totally free, and I can feel the impression of his fingers everywhere that they touch, and I think of stars streaking through the sky and leaving burning trails behind them, and in that moment - however long it lasts, seconds, minutes, days - while he's saying my name into my mouth and I'm breathing into him, I realize this, right here, is the first and only time I've ever been kissed in my life.
One moment you appear to be riding the crest of a wave, only to have the rug pulled away from you, bringing you back down to earth with a sickening thud.
One of the things that really impressed me about Anna Karenina when I first read it was how Tolstoy sets you up to expect certain things to happen - and they don't. Everything is set up for you to think Anna is going to die in childbirth. She dreams it's going to happen, the doctor, Vronsky and Karenin think it's going to happen, and it's what should happen to an adulteress by the rules of a nineteenth-century novel. But then it doesn't happen. It's so fascinating to be left in that space, in a kind of free fall, where you have no idea what's going to happen.
We'll have a part and it's clearing up, so you think something is going to happen and it totally stops and does something completely different and then the part you thought was going to happen comes out of completely nowhere.
You know, we humans are programmed to think that big changes on the Earth happened a long time ago, or will happen a long time in the future. What we don't realize is that they actually can happen right now. Right here, right now, while we're alive, in our own hours and days and months and years.
Most birds were created to fly. Being grounded for them is a limitation within their ability to fly, not the other way around. You, on the other hand, were created to be loved. So for you to live as if you were unloved is a limitation, not the other way around. Living unloved is like clipping a bird’s wings and removing its ability to fly. Not something I want for you. Pain has a way of clipping our wings and keeping us from being able to fly. And if left unresolved for very long, you can almost forget that you were ever created to fly in the first place.
The religious and irreligious are agreeing with each other almost all the time. Their rhetoric is the same, and their plans are the same. Through slightly different interpretations, they all think the same thing is going to happen, that the Earth is going to be perfected and that humans are going to do the work of perfecting it.
When you're young, you think that clothes are almost magical, and that if you wear the right thing - to school, to the prom, on the date, etc. - something's going to happen. Black, it's the anti-magical thing. It comes from the recognition that it is not going to be 'the' dress.
When I'm naked, I really like to do push-ups. No. I think I really tackle it like everything else. If you're going to commit yourself to playing something, you have to be able to understand it. If you can understand it, then you can do it and go balls out with it. But, I've never been in a position where I've been like, "This doesn't feel right." I wouldn't do it, if it was that. I like the shock value of it. I think that, if you use it correctly, it's pretty effective, as long as I'm lit really, really, really well.
It used to be when a good record was about to drop you heard it out of every car and every kid with a boom box was playing it 3-4 weeks before it came out. Now it's not like that you just see ipods left and right and there's no anticipation factor. I have yet to see something drop with the anticipation that Illmatic had or that Ready 2 Die and Cuban Linx had. Those records had real anticipation factors.
I heard this massive thud. I spun around, and there Keith was, on the ground. He'd cut his gums up on impact, he was very bloody, and clutching his head. I think it was a kind of wake-up call for him.
The last thing I want to do is having someone get behind a Montgomery Clift biopic, and then just do the first script that came out. Sometimes it takes a long time for these things to gestate. And I'm only going to do it if it's the right story that's told for the right reason, and that's relevant to this day and age, as much as it pays homage to who this man was. Should that happen during the time when I'm still young enough to play him, perfect. And if not, hopefully someone else will get to play him because I do think it's an incredible story.
Another thing that escapes me is HOW to give substance to the forms. One day they look solid and 'real' and they seem to hinge upon each other and splinter and creak, fall with a thud to the bottom of the canvas and drag across the surface, and the next day they are like dust, all lightweight and just stuck there.
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