A Quote by Paul Auster

What I'm trying to do [in Winter Journal] is to tell the story of a man's life from birth, but there are different versions of him, four different versions. — © Paul Auster
What I'm trying to do [in Winter Journal] is to tell the story of a man's life from birth, but there are different versions of him, four different versions.
The story was the important thing and little changes here and there were really part of the story. There were even stories about the different versions of stories and how they imagined the differing versions came to be.
Years and years of talking and writing versions of the script [Sausage Party] and looking at various versions of the animations - I mean, it's really a lot of workshopping and trying different things, and using the cast to try different voices and characters. And that's the good thing about animation. Because it takes so long, it allows you to explore in a way that you can't in live-action movies.
There are so many versions of Batman that I love so much from different artists that I had to almost stop trying to draw those versions and get past that and just draw the Jeff Lemire version of Batman eventually.
Sometimes, I actually end up doing three or four different versions of one song, and sometimes, those versions can be done very differently. They can be very laid back, downtempo, or sometimes the same song can be quite uptempo. But it is always the same melody and chord progressions.
I think the idea is that every time we perform Big Red Machine music it should be different somehow - like, different people, different songs maybe, definitely different versions of the songs.
I love picture books - with picture books, you can use words and pictures as a double act, even tell two different versions of a story at the same time.
There have been so many different versions of the legend and of 'Camelot,' so what I wanted to do was strip it all back, and go back to the beginning and tell the story of Arthur, from the beginning of the relationship between Merlin and Arthur.
For 'Frost/Nixon,' everyone I spoke to told the story their way. Even people in the room tell different versions. There's no one truth about what happened in those interviews, so I feel very relaxed about bringing my imagination to the piece. God knows everyone else has.
The theoretical casting part of movies is the funnest part. You really can imagine so many different versions of a story, based on who's embodying it.
The theoretical casting part of movies is the funnest part. You really can imagine so many different versions of a story based on who's embodying it.
I've played a bunch of different versions of Walter [from "Fringe"]... I loved it when he was being random, which was probably the original version of him, more than anyone else. I loved doing Walter then, and all of the different mental states that we've played.
'Udta Punjab' is a story of four different people merged together. There are four different stories and four different perspectives.
'Mistresses' is about the lives of four women, each going through different versions of infidelity. Their longtime friendship is what gets them through extremely challenging times.
I met a lot of women in the military with Meg Ryan, and they were remarkably impressive: Competent and strong and not versions of men, but versions of women. And they had stories to tell about how difficult it had been for them.
I don’t think that actors are necessarily any more uncomfortable in their skin than anyone else. I suppose I feel more comfortable in my skin now, but you’re always playing a character, aren’t you? You tell different versions of yourself to different people and vice versa. Here, or in the photo shoot or wherever, it’s a representation of you. It’s not you-you. That’s how you get through it.
What we are as a live band is different to what we are on recordings, but they're both equal versions: they're both LCD Soundsystem, but in very different ways.
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