A Quote by Marcel Dzama
Everyone was saying computers were going to be the future of art; everyone had to do something in this medium. And it was almost some sort of rebellion that I wanted to do these small, intimate drawings.
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I really wanted to be a cartoonist, and I was in 4th or 5th grade and I would bring my drawings in, and I'd look around, and everyone could draw better than me. Everyone. My drawings were just awful. So that's why I had to write.
Something like small English films were in vogue you had something like The Crying Game and everyone piled into London and wanted to make small English movies.
[Shoji] Hamada's [drawings] were little one-line notations of something he wanted to remember about a pot or a piece of furniture or a landscape or something like that, and they were just done very quickly and they had, he thought, no artistic quality. They're not great drawings, but they served to remind him of something he had in his mind, so that when he then went to the studio, that would stick in his mind and he could explore the making of the pot with the clay on the wheel.
That everyone won't see it, that everyone won't join you, that everyone won't have the vision... it's necessary to know that... See I wanted everyone to like me, I wanted to be perfect the first time around. IT'S NOT GONNA HAPPEN. You're gonna make some mistakes, you are gonna create some enemies whenever you decide to take on the world and go after you passion.
Compared with now when almost everyone knows what graphic design is and has some sort of access to the tools to make it, back then, it was really esoteric, you had to quantify it as being 'like commercial art', as one still does in certain circles. It was a strange thing to want to do for a living.
Of course, I love the arenas; there's a great deal of energy and excitement playing those kind of shows. But there's something that's very intimate and very special about a small venue, where you really feel like you're almost getting to know everyone in the audience.
Everybody gave 100%. I mean everyone, because they all knew that the film had the bones and the heartbeat of something that could be good. And everyone was in on it and wanted it for me and wanted it for Roger and Beau.
At our computer club, we talked about it being a revolution. Computers were going to belong to everyone, and give us power, and free us from the people who owned computers and all that stuff.
My formative years were in Houston. I was in middle school, and everyone was dropping the last half of their names and adding an 'o' to the end. My little crew that I had, we were an all-female rap group, and everyone had an 'o' at the end of their name. I was Lisso. Then this dude started getting lazy with it, saying Lizzo.
When I was very young I was sort of floored by the fact that my mother and my father and everyone I knew was going to die one day, and myself too. I had a sort of a philosophical crisis. I couldn't believe that we were mortal.
Can't Hardly Wait was a movie everyone wanted. I wanted the lead girl sooo badly, I think it was Lauren Ambrose. I wanted it so badly, I kept auditioning. I didn't get it, but I think everyone that auditioned - because everyone went out for it - got some screen time in it, like me.
[Bernard Leach] was an incredible draftsman, and at the end of breakfast time, for instance, he would push his plate back, and he'd pull an old scrap of paper out of his pocket and a little stub of a pencil, and he'd begin to make small drawings, about an inch and a half, two inches tall, of pots that he wanted to make. And they were beautiful drawings. I really wish I'd stolen some of those scraps of paper, because those drawings were exquisite explorations of his ideas of form and volume in a ceramic piece.
Don't be guilty of ignoring symptoms of rebellion when your children are small. Don't simply excuse it as a stage they are going through and think that they will grow out of it. If you ignore it when they are small, you won't be able to handle it when they get older and the rebellion has had time to develop into a strong force.
Everyone on 'The Goonies' and everyone on 'Lord Of The Rings' knew that we were a part of something that was going to be big.
The actual communicative value of what we say is usually quite small. I've lived for times in small, isolated fishing villages, where everyone knows everyone each other and everyone knows what's going on and everyone's watched the same TV programs and, really, there's not a whole lot of new information to convey. But there's still a lot of talking. What's said doesn't seem to matter; that you say it, and who you say it to, and how you say it is what matters.
Well! I had the most fantastic dream! Trees crying blood. Horrible dead elves going around and killing people! Raistlin wearing black robes! It was the most incredible thing! And you were there, Sturm. Laurana and Flint. And everyone died! Well, almost everyone. Raistlin didn't. And there was a green dragon-' Tasslehoff stopped. What was wrong with his friends? Their faces were pale, their eyes wide.
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