A Quote by Wendy Beckett
Again and again I've taken quick glances and then for some reason I've got to sit before a picture waiting and it's opened up like one of those Japanese flowers that you put into water and something I thought wasn't worth more than a casual, respectful glance begins to open up depth after depth of meaning.
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Take a quick dip, relax with a schnapps and a sandwich, stretch out, have a smoke, take a nap or just rest, and then sit around and chat until three. Then I hunt some more until sundown, bathe again, put on white tie and tails to keep up appearances, eat a huge dinner, smoke a cigar and sleep like a log until the sun comes up again to redden the eastern sky. This is living…. Could it be more perfect?
I alter some things, eliminate and try again until I am satisfied. Then begins the mental working out of this material in its breadth, its narrowness, its height and depth.
A novel ensures that we can look before and after, take action at whatever pace we choose, read again and again, skip and go back. The story in a book is humble and serviceable, available, friendly, is not switched on and off but taken up and put down, lasts a lifetime.
I called my grandmother yesterday. She picks up the phone, 'Oh hello, dear, hold on a second, I just stepped out of the shower. Let me go put some clothes on.' I said, 'Hey Grandma, don't ever tell me you're naked again. Go put a lot of clothes on. Then put some more clothes on. I'm going to sit here and drink and try to forget you naked in my head.' I'll never eat raisins again.
Nature is more depth than surface, the colours are the expressions on the surface of this depth; they rise up from the roots of the world.
Truth be told, John said, the one thing in this world I want more than anything else is a great big crowbar, to jimmy myself open and take whatever creature that's sitting inside and shake it clean like a rug and then rinse it in a cold, clear lake like up in Oregon, and then I want to put it under the sun to let it heal and dry and grow and sit and come to consciousness again with a clear and quiet mind.
I love waking up every single day and going to fencing practice in the morning and just working hard and setting those big goals one after another, and achieving them, and wanting to do it again and again and again. There's no reason for me to stop.
A sentence begins quite simply, then it undulates and expands, parentheses intervene like quick-set hedges, the flowers of comparison bloom, and three fields off, like a wounded partridge, crouches the principal verb, making one wonder as one picks it up, poor little thing, whether after all it was worth such a tramp, so many guns, and such expensive dogs, and what, after all, is its relation to the main subject, potted so gaily half a page back, and proving finally to have been in the accusative case.
"Nothing ever happens like you imagine it will," she says. The sky is like a monochromatic contemporary painting, drawing me in with its illusion of depth, pulling me up. "Yeah, that's true," I say. But then after I think about it for a second, I add, "But then again, if you don't imagine, nothing ever happens at all."
Don’t always want to go up. Go down, like water, because eventually it’ll go up again. Just like rain, it falls from the sky, flows as a river, then merges with the sea, the goes up again as a cloud.
Sin and forgiveness and falling and getting back up and losing the pearl of great price in the couch cushions but then finding it again, and again, and again? Those are the stumbling steps to becoming Real, the only script that's really worth following in this world or the one that's coming.
I love the idea that if you build something with enough depth and texture, you can watch it again and again and see new things every time, and that's very important.
I think you've got to have a depth, a deeper depth to take stand-up into acting, but I think it really helps you as a stand-up to home into different characters and stuff easily.
Even dramatically how you position some person, the depth, the existence [in 3D] is different than a flat image even though by itself it has depth, we create the illusion of depth. For example, some of the shots I have to stay closer to the actor because it's a young actor, I like it closer for some of the shots. I watch 2D scenes next to the camera, then when I go back to my station and watch it in 3D I have to go back and reduce his acting, he has to shrink a little bit because he peeks out more.
With these big Wagner pieces, if I haven't started three years before, I'm screwed. You need time to look at the piece again and again and again, and then, like some fantastic casserole or spaghetti sauce, put it back in the fridge and let the flavours get together.
I wanted to make an album that I wanted to put on myself and could listen to again and again. In the past I've done these records that are very in-depth. I love them and I'm very proud of them but I've always found it hard to listen to them again and again...they're very demanding.
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