A Quote by Tim Cahill
A constant ongoing joke among the people that I travel with is my absolutely hopeless sense of direction. I'm able to get lost a half an hour from camp. I don't know how I do this.
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Some people come alive at night. I'm hopeless by 9 p.m. Coffee and Cadbury buy me an extra half hour. Often I can't get my clothes off I'm so far gone.
Making people uncomfortable is one of my hobbies. I'm always hoping that half the people get the joke and the other half are the joke.
I would make a genuinely terrible guide. I can't remember things. I would get half way through telling a story or explaining something and I would get distracted. Oh, and I have absolutely no sense of direction at all.
I get no sense from his note at all,” said Will, bounding to his feet, “except that he can quote Tennyson’s lesser poetry. Sophie, how quickly can you have Tessa ready?” “Half an hour,” said Sophie, not looking up from the dress. “Meet me in the courtyard in half an hour, then,” said Will. “I’ll wake Cyril. And be prepared to swoon at my finery.
For me, childhood roaming was what developed self-reliance, a sense of direction and adventure, imagination, a will to explore, to be able to get a little lost and then figure out the way back.
I now know my right from my left and my up from my down. Unluckily, my terrible sense of direction remains. For me, to live in New York City is to never be able to meet someone on the northeast corner. It is to never ever make a smooth entrance, always to get caught looking lost on the street.
Work extra hard on the beginning of your story, so it snares reader's instantly. And know how you're going to end your story before you start writing. Without a sense of direction, you can get lost in the middle.
So it's not really whether you talk about politics, but how well were you able to do it. Peter Gabriel and Sting get away with it...U2...the examples are there, of people being able to carry these subjects in the music, and the audience is absolutely able to embrace subjects that aren't just the stuff they already know about. And they're actually able to learn stuff.
How do you stop longing for what you absolutely know you can't get? Which really means: How do you absolutely know you can't-and won't-get it, not ever? How do you pinch out that wisp of feeble, ruthless hope?
I can remember times coming home from a chess club at four in the morning when I was half asleep and half dead and forcing myself to pray an hour and study an hour. You know, I was half out of my mind-stoned almost.
You dream to be able to have a storyline that spans hours and hours and hours but in reality, half of the people who are acting these days get like an hour and a half to portray a huge storyline. And it's just not enough.
So, great. This is Camp…what do you call it? Camp Fish-Blood?” Aphros frowned. “I hope that was a joke. This is Camp __________.” He made a sound that was a series of sonar pings and hisses.
I think, in a film that's supposed to last an hour and a half, I think you have to really pay attention to what kind of movie you're making, what is the audience experiencing, and does this joke fit with this joke?
Everybody I know who is funny, it's in them. You can teach timing, or some people are able to tell a joke, though I don't like to tell jokes. But I think you have to be born with a sense of humor and a sense of timing.
It’s tough to get out of bed; I know that myself. You can lie there for an hour and a half without thinking anything, just worrying about what the day holds and knowing that you won’t be able to deal with it.
I want people to just be paying attention even if they're not necessarily laughing at something, or if it takes them a while to get something, I don't mind that. If half the crowd gets the joke and the other half is sitting there scratching their heads, that's just as good for me if I like the joke, because I feel like it just brings people in more.
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