A Quote by Thomas McGuane

It's funny, but... you're sort of a moving target for fortune, and you never know when it will befall you. — © Thomas McGuane
It's funny, but... you're sort of a moving target for fortune, and you never know when it will befall you.
David Bowie's music is a moving target. Just when you think you got the bullseye, it shifts. And to his credit, on to death, it's still shifting. David Bowie is a moving target, even after he's gone.
It should be borne in mind that the target is always trying to shift responsibility to get out of being the target. There is a constant squirming and moving and strategy . . . on the part of the designated target. The forces for change must keep this in mind and pin that target down securely. If an organization permits responsibility to be diffused and distributed in a number of areas, attack becomes impossible.
I mean, I - it's so funny, I am, you know, I am, you know, a working woman out in the world, but I still live with my parents half the time. I've been sort of taking this very long, stuttering period of moving out.
A creative project is a moving target. You never end up where you start.
keep moving. It's hard for old age to hit a moving target.
I walk fast. Keep moving. Always be a moving target. Marilyn Monroe taught me that.
It would be interesting if this sitcom works, so I could be doing one thing all the time instead of going back and forth between all this different media which I sort of thrive on, I'm a bit of a moving target in that way.
New York is a spectacular place, and those who are jealous of the way we live our lives are always going to, you know, to strike out, and, you know, we're always going to be a target, sadly. London is going to be a target. You know, anywhere in the West, you're a target.
At the height of creative activity fueled by enthusiasm, there will be enormous intensity and energy behind what you do. You will feel like an arrow that is moving toward the target-and enjoying the journey.
There is something about the vocal quality of the actors who can really do it. Jim Burrows, the great sitcom director who directed Will & Grace and Cheers, when an actor comes in to audition for him, he never looks at them. He just listens. Because funny is funny. You can be fooled by the eye, but if your performance is funny to the ear, it will be funny.
The greatest tragedy that can befall a man is never to know who he really is.
The whole process of nature is an integrated process of immense complexity and it is really impossible to tell whether something that happens in it is good or bad. Because you never know what will be the consequences of the misfortune. Or, you never know what will be the consequences of good fortune.
I know that there are things that never have been funny, and never will be. And I know that ridicule may be a shield, but it is not a weapon.
[In comedy] you never want to leave the actors hanging out to dry. So you need to come up with funny individual stories for each character, and then you do this sort of comedy geometry, weaving them together. Once you've got a funny structure and you know why the scenes are funny, then you get super funny people to say your own lines, say their own lines, say things in their own way, and every scene is a live rewrite in front of the camera.
I know the nature of comedy, and you never know what will happen with the next movie or whether people will find it funny.
Namely the manager will assess what he believes a player is worth and he will discuss that with the board and then we will go after that target. If we can achieve it at that target, great, but if we can't we will have to move on to the next player.
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