A Quote by Matthew Ashford

I draw whatever hits me. — © Matthew Ashford
I draw whatever hits me.

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I worked at Disney many years ago. They just let me sit in a room for a couple of years and draw whatever I wanted to draw, so it's a very personal thing to me. Drawing and everything you do there is something meaningful and personal.
You know what I am going to say. I love you. What other men may mean when they use that expression, I cannot tell. What I mean is that I am under the influence of some tremendous attraction which I have resisted in vain, and which overmasters me. You could draw me to fire, you could draw me to water, you could draw me to the gallows, you could draw me to any death, you could draw me to anything I have most avoided, you could draw me to any exposure and disgrace. This and the confusion of my thoughts, so that I am fit for nothing, is what I mean by your being the ruin of me.
When I started school, I would draw pictures at the end of my sentences: a house, a flower, a tree, a bird. Whatever was in the sentence, I'd draw it.
I really write emotionally so whatever mood I'm in, or if a chord hits me a certain way that's what I'll go off of.
Most of the time, when I had hits as a soloist - maybe not so much with Simon & Garfunkel - I was surprised they were hits. I didn't know what the hits were. I never thought that 'Loves Me Like A Rock' was going to be a hit, or 'Mother And Child Reunion,' or '50 Ways To Leave Your Lover.' They didn't sound like what the hits sounded like at the time. Radio was more open to things that weren't exactly what every other hit was.
Everybody can't come to New York and take the hits, take the hits of the city, take the hits of the media, take the hits of the fans. It's real.
Sometimes when a thing hits you, it hits you in levels, and the reality of what's happening has been a progression for me.
You go to any Jay-Z concert, and he plays his hits. Comedians don't have hits. You have to have a whole brand-new hour. You have no hits to rely on. It's the hardest thing.
Me, I'm not a guy who's dealt with a lot of death in my life, so when it hits you, it hits hard, you question different things.
I've always told everybody that hits behind me, swing at whatever you want because if you hit the ball in the gap, I'll score.
There are a lot of things that are in the show that harken back to the old show, but I really wanted to resist doing a greatest hits. It was irresistible to do a greatest hits, but it was almost too easy. There are things that I know are still ahead of us, in the future of whatever Arrested Development brings.
You draw me, you hard-hearted adamant; But yet you draw not iron, for my heart Is true as steel: leave you your power to draw, And I shall have no power to follow you.
There will always be economic pressure to make hits, identify hits, and then exploit hits. And you're going to exploit them with as many episodes as you probably can.
There's no such thing as an open draw. At least for me - I mean, obviously for Roger Federer, I think every draw feels open for him - but for me there's no such thing as an open draw
I appreciate all the kids who come up and enjoy my play at OU. But everybody giving me their opinions is where I draw the line. If it's someone who hasn't been there before, I really can't handle it. It's 'Slide more.' 'Don't take as many hits.' 'Get out of bounds.' I know they have my best interests at heart. I just have to remind myself of that.
What is a hit? Who can tell? Who decides what a hit sounds like? I needed to remind myself that a hit is whatever people decide is a hit. I don't make hits; I make music. People make hits.
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