A Quote by William Safire

Never put the story in the lead. Let 'em have a hot shot of ambiguity right between the eyes. — © William Safire
Never put the story in the lead. Let 'em have a hot shot of ambiguity right between the eyes.
I always call niggas fools for wanting to learn the hard way. When I'm really the fool for tryna teach 'em. When the blinds leading the blind. You can't reach 'em. If niggas ain't as hungry as you then why feed 'em? Niggas ain't tryna be lead then why lead 'em? Having big problems with your dogs, why breed em?
Ever see a hot shot hit, kid? I saw the Gimp catch one in Philly. We rigged his room with a one-way whorehouse mirror and charged a sawski to watch it. He never got the needle out of his arm. They don't if the shot is right. That's the way they find them, dropper full of clotted blood hanging out of a blue arm. The look in his eyes when it hit --- Kid, it was tasty.
It is gorgeously shot, and Andrew believes that the old school way of making films in the best way. Meaning: you have a story, and you stick to the story. You don't change and alter the story because of people who've invested in it and what to put product in a shot.
You know, these conservative women, somebody really needs to go repossess their ovaries. Really, truly, they have no right to them. They are fabulous, little organs and they have absolutely no right to be estrogen-bearing beings. Okay? Just cut 'em off, let 'em go through the hot flashes, let 'em just sit there and complain about hormone therapy, okay? Just take the ovaries and get it over with. Because they don't deserve to have estrogen. They really don't. It's a privilege.
I think if a poet wanted to lead, he or she would want the message to be unequivocally clear and free of ambiguity. Whereas poetry is actually the home of ambiguity, ambivalence and uncertainty.
Hey, a guy can hope. I mean, it’s not impossible that a car full of scantily clad sorority girls might break down outside and need my help.” “That’s true,” I said. “Maybe I can put a sign out front that says, ‘ATTENTION ALL GIRLS: FREE HELP HERE.’” “‘ATTENTION ALL HOT GIRLS,’” he corrected, straightening up. “Right,” I said, trying not to roll my eyes. “That’s an important distinction.” He pointed at me with the pool stick. “Speaking of hot, I like that uniform.” This time, I did roll my eyes.
I tell em everybody else is my opposite. I put em on the game give em five percent.
Maybe if I'd gone in younger, I wouldn't have had that feeling, but I've seen an enormous amount of changes since the early-'70s in how this stuff is shot. I did the first TV movie ever shot in 18 days; before this film the normal length of shooting a TV movie was between 21 and 26 days. We shot a full-up, two-hour TV movie in 18 days with Donald Sutherland playing the lead, who had never worked on television before.
Just a simple choice, right now, between fear and love. The eyes of fear want you to put bigger locks on your doors, buy guns, close yourself off. The eyes of love instead see all of us as one.
The time to hurry is in between shots. It's not over the shot. It's timing how people walk. You have to add that to the equation. If you've got somebody walking slow and they get up to the shot and take their 20 seconds, what's the aggregate time for them to hit that shot in between shots? That's what really matters. It's not the shot at hand.
Screw ambiguity. Perversion and corruption masquerade as ambiguity. I don`t trust ambiguity. John Wayne
Losing is like smoking. It's habit forming”; “Fear is the basis of all mankind. In cards, you psyche 'em out, you shark 'em, you put the fear of God in 'em
I do have big tits. Always had 'em - pushed 'em up, whacked 'em around. Why not make fun of 'em? I've made a fortune with 'em.
So Chuck and I looked at that and we hacked on em for a while, and eventually we ripped the stuff out of em and put some of it into what was then called en, which was really ed with some em features.
We used Chaplin's formula in all my pictures. Make 'em laugh for five and a half reels, and then make 'em cry in the last half reel. But give 'em a chance to dry their eyes before the lights come up.
People get excited about things like 'Swan Lake' because they generate a personal involvement. If you set up the story properly, audiences respond to the ambiguity. People ask, 'What exactly is happening in Act Four?' and I never say. I can't put it into words, but they've got a feeling about it, and that's good enough.
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