A Quote by Suzanne Collins
Want a sugar cube?" he asks in his old seductive voice. That's how we met, with Finnick offering me sugar. Surrounded by horses and chariots, costumed and painted for the crowds, before we were allies. Before I had any idea what made him tick. The memory actually coaxes a smile out of me. "Here, it improves the taste," he says in his real voice, plunking three cubes into my cup.
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Want a sugar cube?" he asks in his old seductive voice.
Drink it,” I told her. “It’s good for what ails you. Caffeine and sugar. I don’t drink it, so I ran over to your house and stole the expensive stuff in your freezer. It shouldn’t be that bad. Samuel told me to make it strong and pour sugar into it. It should taste sort of like bitter syrup.” She gave me a smile smile, then a bigger one, and plugged her nose before she drank it down in one gulp. “Next time," she said in a hoarse voice, “I make the coffee.
Joe: You don't want me, Sugar. I'm a liar and a phony. A saxophone player. One of those no-goodniks you keep running away from. Sugar: I know, every time. Joe: Sugar, do yourself a favor. Go back to where the millionaires are, the sweet end of the lollipop, not the cole slaw in the face, the old socks and the squeezed-out tube of toothpaste. Sugar: That's right. Pour it on. Talk me out of it. (She grabs him to kiss him.)
In New York and New England the sap starts up in the sugar maple the very day the bluebird arrives, and sugar-making begins forthwith. The bird is generally a mere disembodied voice; a rumor in the air for two or three days before it takes visible shape before you.
Want a sugar cube? [...] They're supposed to be for the horses, but who cares? They've got years to eat sugar, whereas you and I . . . well, if we see something sweet we better grab it quick. [...] You're absolutely terrifying me in that get-up. What happened to the pretty little-girl dresses?
Want a sugar cube?- Finnick Odair,
Cee Lo - to me, his voice is classic; I've personally said to him before, 'For me, your voice is as special as a Michael Jackson vocal,' because of what he can do, his range. I said that to him, and I mean that.
Johanna glances over at Finnick, to be sure, then turns to me. “How’d you lose Mags?” “In the fog. Finnick had Peeta. I had Mags for a while. Then I couldn’t lift her. Finnick said he couldn’t take them both. She kissed him and walked right into the poison,” I say. “She was Finnick’s mentor, you know,” Johanna says accusingly. “No, I didn’t,” I say. “She was half his family,” she says a few moments later, but there’s less venom behind it.
What do you think would happen if we kissed right here, right now?" he asks, digging his hands into the pockets of his khaki pants, grinning right back at me. "I think it would cause a riot." "Well, you know me," he says, lowering his head towards me. "Causing a riot is what I do best." Santangelo approaches before Griggs gets any closer and pulls him away. "Are you guys insane?" he says, irritated. "It's called peaceful coexistence, Santangelo. You should try it and if it works we may sell the idea to the Israelis and Palestinians," I say, throwing his own words back at him.
You'd have thought we planned it," says Peeta, giving me just the hint of a smile. "Didn't you?" asks Portia. Her fingers press her eyelids closed as if she's warding off a very bright light. "No," I say looking at Peeta with a new sense of apreciation. "Neither of us even knew what we were going to do before we went in." "And Haymitch?" says Peeta. "We decided we don't want any other allies in the arena." "Good. Then I won't be responsible for you killing off any of my friends with your stupidity," he says.
There are times when the voice of repining is completely drowned out by various louder voices: the voice of government, the voice of taste, the voice of celebrity, the voice of the real world, the voice of fear and force, the voice of gossip.
Do you have any idea how much I love you?” he asked. ”Enough to accept my apologies?” I suggested in a small voice. ”Heck no,” he said, and pushed off from the wall, stalking forward. When he reached me, he put his hands up and touched the sides of my neck with the tips of his fingers – as if I were something fragile. ”No apologies from you,” he told me, his voice soft enough to melt my knees and most of my other parts.
I'd once been fascinated by his legend - all the stories I'd heard before I met him. Now I can feel that same sense of fascination returning. I picture his face, so beautiful even after pain and torture and grief, his blue eyes bright and sincere. I'm ashamed to admit that I enjoyed my brief time with him in his prison cell. His voice can make me forget about all the details running through my mind, bringing with it emotions of desire, or fear instead, sometimes even anger, but always triggering something. Something that wasn't there before.
A man is thirty years old before he has any settled thoughts of his fortune; it is not completed before fifty. He falls to building in his old age, and dies by the time his house is in a condition to be painted and glazed.
We who have lived before railways were made belong to another world. It was only yesterday, but what a gulf between now and then! Then was the old world. Stage-coaches, more or less swift, riding-horses, pack-horses, highwaymen, knights in armor, Norman invaders, Roman legions, Druids, Ancient Britons painted blue, and so forth -- all these belong to the old period. But your railroad starts the new era, and we of a certain age belong to the new time and the old one. We who lived before railways, and survive out of the ancient world, are like Father Noah and his family out of the Ark.
The expectation is this low, gravelly voice for John, but I went through his early recordings and there were songs in there where the voice was so different, I wasn't even sure if it was him singing, ... So it was interesting to me that we would see him develop the Man in Black sound. I thought it was really important that his voice change as his persona slowly solidified. The music was really the doorway into the character.
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