A Quote by Tom of Finland
The abstract, especially in those rough sketches, is very important to me, perhaps because of my advertising background, where layout is so important. Sometimes those first few lines cut the paper into such satisfying shapes that I don't want to go on, but I always do, adding nostrils and nipples and bootstraps until I have filled the paper up as usual.
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I become one of those people who walks alone in the dark at night while others sleep or watch Mary Tyler Moore reruns or pull all-nighters to finish up some paper that's due first thing tomorrow. I always carry lots of stuff with me wherever I roam, always weighted down with books, with cassettes, with pens and paper, just in case I get the urge to sit down somewhere, and oh, I don't know, read something or write my masterpiece. I want all my important possessions, my worldly goods, with me at all times. I want to hold what little sense of home I have left with me always.
Sometimes I have a melody in my head; sometimes it's just a verse. I read lines from a book or movies that I watch and grab a few quotes and start writing on paper. From there, I record a really rough version and work on the song.
The HoLee model was the first term structure model. I remember reading their paper soon after it was published and as it was fairly different from many of the other papers that I had read, I had to read it quite a few times. I realized that it was a really important paper.
The first beat that I ever made that I thought was actually worth a damn was called 'Toilet Paper Nostrils,' and I made it when I had a cold. I had the worst cold ever. And I had toilet-paper nostrils making music, but it was really reflective of how I felt. It was a really sad trumpet sound.
The process is always the same. I get an inspiration for a new song, I put it down on paper immediately so I won't lose it. When I am ready to go to the studio with it, I play it a few times on the piano and edit, add, and type the lyrics and take it to the studio. Sometimes I don't have anything on paper.
We see only the script and not the paper on which the script is written. The paper is there, whether the script is on it or not. To those who look upon the script as real, you have to say that it is unreal - an illusion - since it rests upon the paper. The wise person looks upon both paper and script as one.
I like "Rock, Paper, Scissors Two-Thirds." You know. "Rock breaks scissors." "These scissors are bent. They're destroyed. I can't cut stuff. So I lose." "Scissors cuts paper." "These are strips. This is not even paper. It's gonna take me forever to put this back together." "Paper covers rock." "Rock is fine. No structural damage to rock. Rock can break through paper at any point. Just say the word. Paper sucks." There should be "Rock, Dynamite with a Cutable Wick, Scissors."
The first among mankind will always be those who make something imperishable out of a sheet of paper, a canvas, a piece of marble, or a few sounds
I had been at the newspaper for a few months. It wasn’t regarded as the paper, it was their paper. There was a sense of community because they reported, we reported, I reported the little things, the whist drives, the weddings, the funerals, the little speeches. In one sense it was the most boring copy in the world to anyone picking it up, but, on the other hand, it was crucial to the people who lived in those communities.
One of the most jolting days of adulthood comes the first time you run out of toilet paper. Toilet paper, up until this point, always just existed. And now it's a finite resource, constantly in danger of extinction, that must be carefully tracked and monitored, like pandas?
I'm giving up acting. . . . I'm 66 and there are a number of celebrations I've got to get down on paper, and acting doesn't allow me to do that. It was a hell of a drug, performance. It's a great thrill, especially for a storyteller. But it can go. Directing can go. Writing can't go. And in terms of what lies ahead, I want to have a burning focus - almost like smoke coming up from the paper as I write.
I'm superstitious about the paper that I use, for example. I've written all my novels on a paper of a particular size with lines of a particular distance apart and with two holes in the paper for the folder clip.
In a way, literature is true than life,' he said to himself. 'On paper, you say exactly and completely what you feel. How easy it is to break things off on paper! You hate, you shout, you kill, you commit suicide; you carry things to the very end. And that's why it's false. But it's damned satisfying. In life, you're constantly denying yourself, and others are always contradicting you. On paper, I make time stand still and I impose my convictions on the whole world; they become the only reality.
These rough sketches, which are born in an instant in the heat of inspiration, express the idea of their author in a few strokes, while on the other hand too much effort and diligence sometimes saps the vitality and powers of those who never know when to leave off.
Caron, Even though you just got here a few months ago, We've grown so close over these last few weeks And, I can remember, When you first got here, You wrote a piece of paper in my locker... I don't know why I'm crying so much man... You wrote a piece of paper in my locker that said, "KD MVP." And that's after we had lost two or three straight. And I don't really say much in those moments, But I remember that. I go home and I think about that stuff man. When you got people behind you, You can do whatever. And I thank you man, I appreciate you.
It's really been a long-term dream of mine to have an alternative to wood-based paper. Over half of the trees cut in the world are cut for paper products.
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