A Quote by Peggy Johnson
When text messaging first came out, you could only text within your network, whatever operator you had. It seems silly now, but once those walls came down, all sorts of applications and services were built on top of that. It ended up being good for everybody.
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Colin [Farrell] I talked to several times on the phone, and I said, remember, we have only twenty-five days of doing the movie [Miss Julie], so you must know some of your text. I was a little un-feminist, I didn't want to say [bossy voice] "learn your text!" But when he came, he knew all his text.
The only direction I can give to an actor, a good actor who knows his skills, is, 'Here are those words. They're yours. Make them yours. Don't tell the text but be the text.' That means you have to be the emotion of the text.
Good web text has a lot in common with good print text. It's plain, concise, concrete and 'transparent': even on a personal site the text shouldn't draw attention to itself, only to its subject.
With Orff it is text, text, text - the music always subordinate. Not so with me. In 'Magnificat,' the text is important, but in some places I'm writing just music and not caring about text. Sometimes I'm using extremely complicated polyphony where the text is completely buried. So no, I am not another Orff, and I'm not primitive.
There is some argument about who actually invented text messaging, but I think it's safe to say it was a man. Multiple studies have shown that the average man uses about half as many words per day as women, thus text messaging. It eliminates hellos and goodbyes and cuts right to the chase.
All we can say is that, as the result of a process which went on from the fourth century to about the eighth, a standard type of text was produced, which is found in the vast majority of the manuscripts that have come down to us. At least ninety-six per cent of the extant manuscripts of the Greek New Testament are later than the eighth century; and of those only a handful preserve traces of the other types of text which were in existence before the adoption of the standard text, and out of which it was created.
People will now go to films with subtitles, you know. They're not afraid of them. It's one of the upsides of text-messaging and e-mail. Maybe the only good thing to come of it.
A text is not a text unless it hides from the first comer, from the first glance, the law of its composition and the rules of its game. A text remains, moreover, forever imperceptible. Its laws and rules are not, however, harbored in the inaccessibility of a secret; it is simply that they can never be booked, in the present, into anything that could rigorously be called a perception.
I used to have a BlackBerry. E-mail and text messaging and all those things that make life so much easier now.
That definitely I feel is part of my generation: social networking, communication over the Internet, whether it's Skype or IRC or some form of text-based chat, text messaging.
Sometimes I think opposable thumbs were invented so teenage girls could use text messaging.
With vocal and choral music, first and foremost, it's the text. Not only do I need to serve the text, but the text - when I'm doing it right - acts as the perfect 'blueprint', and all the architecture is there. The poet has done the heavy lifting, so my job is to find the soul of the poem and then somehow translate that into music.
There's nothing wrong with sending a quick note if you're busy or just want to flirt, but it's hard to have any real interaction over text. In the buffet of communication, text messaging should be a side dish, not the entree.
Generally, the imagery and the text go hand in hand. It's much easier when the text comes first, but sometimes I need visual stimulation in order to find the words. I get an idea of what I want when I begin to shoot, and the text is usually the last thing to be resolved. I tend to leave the text open, and I refine the words up to the last minute. As for the image, I can resolve that and get that done fairly quickly.
The discourse on the Text should itself be nothing other than text, research, textual activity, since the Text is that social space which leaves no language safe, outside, nor any subject of the enunciation in position as judge, master, analyst, confessor, decoder. The theory of the Text can coincide only with a practice of writing.
Whether you're Godard or Almodovar or Scorsese, it's text, text, text. Everything begins with the text, and this is a source of great anguish to me. So please let cinema get on with doing what it does best, which is expressing ideas in visual terms.
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