A Quote by Richard M. Nixon

You know very well that whether you are on page one or page thirty depends on whether they fear you. It's as simple as that. — © Richard M. Nixon
You know very well that whether you are on page one or page thirty depends on whether they fear you. It's as simple as that.
The only thing going on is the progression of words and sentences across page after page and so suddenly we see this immersive kind of very attentive thinking, whether you are paying attention to a story or to an argument, or whatever. And what we know about the brain is the brain adapts to these types of tools.
Whether it's a lower or higher budget project, a TV show or a film, the words on the page are the same to me and I approach the work in the same way. My job is to lift the character from the page, whether it's a TV or film script.
Yes, the fear of its blankness. At the same time, I kind of loved it. Mallarmé was trying to make the page a blank page. But if you're going to make the page a blank page, it's not just the absence of something, it has to become something else. It has to be material, it has to be this thing. I wanted to turn a page into a thing.
I think our primary function is to create the strongest, deepest, most interesting news report there is in the world.And whether it's on the front page of the newspaper or leading the home page doesn't really matter. We reach a huge audience on the Web. And really, you know, the journalists, whether they are reporters or editors or Web producers or multimedia specialists, we're all creating, you know, the journalism that is the bedrock of our news report. And that's true for the newspaper, the Web, our apps, and you name it.
The art of fiction is one of constant seduction. You must persuade the reader on page 1 to start reading - on page 50, or page 150 and yes, on page 850.
You are wrong if you think that you can in any way take the vision and tame it to the page. The page is jealous and tyrannical; the page is made of time and matter; the page always wins.
We are thickly layered, page lying upon page, behind simple covers. And love - it is not the book itself, but the binding.
When writing for the page, the focus is on the design - how the words appear on the page. I try to make it as direct and simple as possible.
I used to say Page Joseph Falkinburg - which is my given name - when Page Joseph Falkinburg stopped trying to be this over-the-top professional wrestler, Diamond Dallas Page, and Diamond Dallas Page became Page Joseph Falkinburg, that's when my career took off.
It's always been my philosophy: Turn the page. If something falls through, turn the page. It's over with, get used to it, get on with it. Very simple. It's always worked for me.
The definition of a page-turner really aught to be that this page is so good, you can't bear to leave it behind, but then the next page is there and it might be just as amazing as this one.
On the first page of the Bible there is an instance of how literalism is but an invitation to transcend the image to which literalism points. That first page is not geology, biology or paleontology; it is high religion. For there we are told who we are in terms of our constititutive text. And if we could understand that, we would worrying about whether the antelopes or the cantaloupes came in a certain order.
I want to wake up one morning and know how to write page one, or page 10, or page 250. But I never seem to know how to do it. Every book is different and takes a different structure, style, process, etc. And relearning how to write is where the insanity comes from.
Well, I'm a slow writer. For me, a good day is a page, maybe a page and a half. I'd love to be more efficient, but I am not.
The worst thing is the blank page at the start. Then the horrible things written on the blank page. Then deciding whether or not to throw out those horrible things: lame scenes, lame characters, bad ideas.
Own what you are, and I mean whether that's art, or whether that's fashion, or whether that's music, or whether that's acting, or whether that's politics, or whether that's literature; it's own what you are, and grab it, and, you know, be as prolific as possible.
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