A Quote by Robert Hunter

A song doesn't happen as a whole verse; it happens linearly, line by line, almost word by word, phrase by phrase. And if each phrase, each line, has a proper emotional feel and connects to the line before it and the line after it, the song will be doing what it should be doing.
Micro humor is a joke that's contained in the writing: it's a punch line, it's a turn of phrase, it's something that you can see on the page, and no matter who's saying it, it is, in and of itself, a funny line.
If you're working with a producer like Rick Rubin or whatever, you sing each line probably 30 different ways. Each time, they're like, 'Can you try it this way? Can you try it that way?' That's each line in the song, for each song.
If you're working with a producer like Rick Rubin or whatever, you sing each line probably 30 different ways. Each time they're like, "Can you try it this way, can you try it that way?" That's each line in the song, for each song.
The straight line has a property of self-similarity. Each piece of the straight line is the same as the whole line when used to a big or small extent.
I start out with words, with the idea, the line. Then after I get a line or two, I try to find what melodic line those lines would be suited to. As soon as I find the form I can finish the song in my head.
Sometimes, as a comedian, a line will come to you, that is so beautiful, so perfect, that you think: I did not create this line. This line belongs to all of us. Surely this is a line of God.
Sometimes, as a comedian, a line will come to you, that is so beautiful, so perfect, that you think: I did not create this line. This line belongs to all of us. Surely this is a line of God
I'd love to have a shoe line, or a sunglasses line, or a purse line. Who am I kidding, I'd like to have an everything line!
In my dreams and visions, I seemed to see a line, and on the other side of that line were green fields, and lovely flowers, and beautiful white ladies, who stretched out their arms to me over the line, but I couldn't reach them no-how. I always fell before I got to the line.
I started to write the song. And I was in Gladewater, Texas, one night with Carl Perkins and I said, I've got a good idea for a song. And I sang him the first verse that I had written, and I said it's called "Because You're Mine." And he said, "I Walk The Line" is a better title, so I changed it to "I Walk The Line."
The straight line is godless and immoral. The straight line is not a creative line, it is a duplicating line, an imitating line.
For me there's always a line or two in a script, when you hit it you almost decide to do the whole movie off a line or two. You almost do it for the fun of getting to say a line or two like that. I don't have any specific plans, you know. I mean, if Seth Rogen calls with a great buddy pic, I'll be there.
There is a fine line I have to walk throughout the writing process in a novel. It is this line between drama and melodrama, and it is this line between evoking genuine emotional power and being manipulative.
I started as a fourth-line fighter, went to being a third-line centre, then a second-line winger and a first-line centre. I've played every role there is, and the only thing that matters is helping the team win.
I just start playing music and eventually I sing something, a line of a verse or a B section or a line of a chorus, and the line that I end up singing is related to the music I'm playing, if that makes any sense. And I go from there.
I write with a fountain pen. And then revise word by word and line by line so that the first draft of a scene is usually the tenth or so draft.
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