A Quote by Charles Busch

I took many notes, more than usual before I sat down and wrote Act One, Scene One. I had perhaps eighty pages of notes. . . . I was so prepared that the script seemed inevitable. It was almost all there. I could almost collate it from my notes. The story line, the rather tenuous plot we have, seemed to work out itself. It was a very helpful way to write, and it wasn't so scary. I wasn't starting with a completely blank page.
I feel like the great filmmakers who have a true voice, yeah they take the notes, they understand the notes, but it's really about the notes underneath the notes. When you do a test screening and somebody says, 'Well, I didn't like the love story,' but it was probably just too long.
You never can tell, though, with suicide notes, can you? In the planetary aggregate of all life, there are many more suicide notes than there are suicides. They're like poems in that respect, suicide notes: nearly everyone tries their hand at them some time, with or without the talent. We all write them in our heads. Usually the note is the thing. You complete it, and then resume your time travel. It is the note and not the life that is cancelled out. Or the other way round. Or death. You never can tell, though, can you, with suicide notes.
With films, I just scribble a couple of notes for a scene. You don't have to do any writing at all, you just have your notes for the scene, which are written with the actors and the camera in mind. The actual script is a necessity for casting and budgeting, but the end product often doesn't bear much resemblance to the script--at least in my case.
I took notes on the people around me, in my town, in my family, in my memory. I took notes on my own state of mind, my grandiosity, the low self-esteem. I wrote down the funny stuff I overheard. I learned to be like a ship's rat, veined ears trembling, and I learned to scribble it all down.
A good way to work on alternate picking is to choose three or four notes, and work on those. Too often, players who are trying to improve their right hand dexterity get hung up by playing too many notes with the left hand.I hear a lot of players running whole scales from the sixth string to the first , and playing them really sloppy.Keeping it very basic-and using only a few notes-and playing slowly with perfect rhythm is a task in itself.
The ballet embodies the notes of music. And sometimes you almost feel like you can see the notes dance up there on the stage.
I wrote a lot of stuff quickly: pages and pages of notes that seemed pretty incoherent at first. Most of it was taken from the radio because -suddenly being a parent- I'd be confronted by the radio giving a news report every hour of the day.
Once you start to play together, vibing off each other in the scene, it's not just the notes - it's the music. The script might be the notes playing, but we're making it music.
I’ll write down little lines, I always say, 'K.T.N.,' and I say that to my receivers and running backs and that means 'keep taking notes.' That keeps me alert. That keeps me going. That keeps my drive there, even when you’re taking notes on something that you’ve already taken notes on a million times - keep taking notes.
'A Fair Maiden' existed in notes and sketches for perhaps a year. When I traveled, I would take along with me my folder of notes - 'ideas for stories.' Eventually, I began to write it and wrote it fairly swiftly - in perhaps two months of fairly intense writing and rewriting. Most of my time writing is really re-writing.
I definitely take notes, but I feel like sometimes if I take too many notes, it kind of bogs down my mind a little bit. So, I just write down stuff that I need to remember for the game.
In the 1930s, all the novelists had seemed to be people who came blazing up into stardom from out of total obscurity. That seemed to be the nature of the beast. The biographical notes on the dustjackets of the novels were terrific.
I just write notes all day on my phone, and when I write songs it becomes a patchwork of these smaller notes that I had, mixed with stuff in the moment.
I only make notes, I don't write dialogues in full. And the notes are very much based on my knowledge of person.
You get notes from two studios and a network instead of a studio and a network. Although we early on forced them all to do their notes together. I make them all talk to each other first. Because we went through the pains of getting notes from ABC and at the time it was Touchstone, that were opposite - and then CBS notes that were opposite again. So it was, you guys are going to have to work it out as to what is the most important note.
The notes I handle no better than many pianists. But the pauses between the notes - ah, that is where the art resides.
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