A Quote by Sam Wanamaker
I admit we don't know for sure the exact spot where the original Globe stood. But the Greenmore Wharf site is as nearly right as we can figure.
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You know, there's an economy in lyric-writing that doesn't afford you, or at least me - I usually start off with nine or 10 verses and then boil it down to two or three that are half the length of the original verses. I think for me it's about what you leave out [rather] than what you put in. I'm not sure that the songs help me figure anything out so much as they're a distillation of the original question.
Look at all the buses now that want exact change, exact change. I figure if I give them exact change, they should take me exactly where I want to go.
The camera must point at the exact spot the audience wishes to look at any given moment. To find that spot is absurdly easy: you only have to remember where you were looking at the time the scene was made.
What happens in the music business is that if you step out of your little spot to do something else, the sand falls right into where you stood and you're gone, you're history.
I think when you are truly stuck, when you have stood still in the same spot for too long, you throw a grenade in exactly the spot you were standing in, and jump, and pray. It is the momentum of last resort.
What I want is an international monument to the world's greatest playwright. It would be an attraction that would be both educational and an automatic sight for tourists, like St Paul's and the Tower of London. It would be built with honesty and integrity not another Disneyland, but as nearly as possible a replica of the original Globe Theatre.
There has been loss of steel manufacturing. Those people need jobs. Where you have to build the third airport is where people are. So you're right; if his site isn't playable, then our site is right next to it.
And it is very moving because one has to see the site not as just another site of development but it is a very special site. It is a site that souls and hearts of all Americans.
I'd done a drawing of the model using only peripheral vision, looking at a spot on the wall to the right of where she sat. It wasn't really a drawing of her I produced; it was a drawing of the cloud of lights and darks she dissolved into when I focused on the spot. You could look at my drawing of this cloud and read it as a nude female figure, though a little translation was required.
Knowledge is little; to know the right context is much; to know the right spot is everything.
I think I have a tendency to overwork things. I have a hard time finding that sweet spot that most actors seem to be able to hit where they're doing the exact right amount of work, not overthinking, not underdoing it. I seem to either overdo it or underdo it.
Not even I, in my original Spanish, am necessarily obliged to make exact quotations. I can do that or not, I can play with that opportunity or not. This is my right, or poetic license, as someone who is building an artefact of fantasy - this implicit pact with the reader is my starting point.
An original something, dear maid, you would wish me to write; but how shall I begin? For I'm sure I have not original in me, Excepting Original Sin.
Where was the use, originally, in rushing this whole globe through in six days? It is likely that if more time had been taken in the first place, the world would have been made right, and this ceaseless improving and repairing would not be necessary now. But if you hurry a world or a house, you are nearly sure to find out by and by that you have left out a towhead, or a broom-closet, or some other little convenience, here and there, which has got to be supplied, no matter how much expense or vexation it may cost.
I used the second year of my MFA program to write a young adult novel and began pursuing picture books as well. I loved the economy of this art form, choosing, with pristine attention, the exact right words to tell the exact right story.
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