A Quote by Eoin Colfer
Orion sniffed. "Good. Then, worthy centaur, perhaps you could give me a ride to the village on your way back. Then I can make a few pennies wth my verses while you build us a shack and perform circus tricks for passersby." This was such a surprising statement that Foaly briefly considered jumping into the hole to get away.
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He threw his head back and sang, "'I am a centaur, yes, a centaur is what I am.' It's not like you to wax, Artemis" "Foaly is singing," said Holly. "Surely that's illegal?
Now I can do the bolts," she slurred. "I've been trying to focus enough magic all week." The magic shifted and swirled, finally etching a picture in the air. It was a rough picture of Foaly, and he was laughing. I hate you, centaur!" screamed Opal, lunging toward, and then through, the insubstantial image. Her eyes rolled back into her head, and then she collapsed, snoring, on the floor. Artemis straightened his tie. Freud, he was certain, would have a field day with that.
Somebody comes to your house. You know they're coming, so it's not a surprise. And they give you an envelope that has your scenes in it. And they sit in the car outside for a half an hour while you read your scenes, then they ring your doorbell and you give your scenes back. Then you shoot the movie a few weeks later or something. The next time you see your scenes is the night before you start shooting. I never read the script [Blue Jasmine], so I didn't really know what it was about.
It's like running away to join the circus, everyone wants to do it when they're young but then you grow up and get a proper job. But somebody's got to do it or you wouldn't have the circus.
I'm a coffee guy but I don't think I've had a full cup of coffee. I'll grab one and then I'll have a few sips of it then go back to work and it's cold then I'll throw that away and go back later and get another one.
There is a mental space that we consciously makes our way back to, and give honour to what has formed us in this mental homeland which we carry with us always. It is important not to try to annihilate it but to take your courage in your hands and go back, and then I think you can more easily make a new beginning. A lot of us would like to know how to do this.
We're trained to believe we should cling to one person only. Yet there are so many people who pass in and out of our lives. Good people, worth people, interesting people. Most of them stay for a little while and then move on. Some of them find a place with us and, if we let them, they enrich us. Don't close yourself off from the rest of the world, Eve. If you find someone who can make you understand a little more, laugh every now and then, give you a new experience, then never feel guilty. You'll just have more to give back to those who are closest to you.
Nobody really owns anything. We give back our bodies at the end of our lives. We own our thoughts, but everything else is just borrowed. We use it for a while, then pass it on.
Everything.
We borrow the sun that shines on us today from the people on the other side of the world while they borrow the moon from us. Then we give it back. We can't keep the sun, no matter how afraid we are of the dark.
Like how could you do nothing,
and say, 'I'm doing my best.'
How could you take almost everything,
and then come back for the rest?
How could you beg me to stay,
reach out your hands and plead,
and then pack up your eyes and run away
as soon as I agreed?
A few years back, even the most commercial pop could have some artistic value. Someone who liked underground music could appreciate Justin Timberlake, too. Now, I just don't get it. Production values are boring; songwriting has gotten worse - the choruses on a lot of popular hip-hop songs are especially bad. The rappers hit their flow in the verses, then when they try to sing, it's a mess. And just like the airbrush tool in Photoshop, Autotune is way overused. It's not a toy!
As a kid, I hated home, and I just wanted so much to learn or do something that could take me away and keep me away forever. And then I got blessed to get to make music and meet people who wanted to work with me. And then, the next thing I knew, I was on the road, and I was gone.
Back in the '40s and early '50s, building simple electronic projects was a popular hobby of many people. Back then, you could buy, you know, a few parts and - with tubes and build something on your kitchen table, and it would actually work.
Back in the 40s and early 50s, building simple electronic projects was a popular hobby of many people. Back then, you could buy, you know, a few parts and - with tubes and build something on your kitchen table, and it would actually work.
Orion nodded, then asked, “Dwarf cheese?” “Cheese made by dwarfs.” “Oh,” said Orion, relieved. “They make it. It’s not actually . . .” “No. What a horrible thought.” “Exactly.
You have to be in California in order to write or direct movies. People say, "Oh, I'm gonna do it from Pittsburgh. I'm just gonna deliver scripts or fly out, like, once, then fly back." You have to make a full commitment. You have to actually get on a plane, come to L.A., rent a place, and live there. And that's how you forge your career. Not just sort of haphazardly. Once you've got a few hits under your belt, assuming you do, then go back and move away and correspond with the studio.
Be contemporary. Have impact. Strive for it. Be of the world. Move it. Be bold, don’t hold back. Then the moment you think you’ve been bold, be bolder. We are all alive today, ever so briefly here now, not then, not ago, not in some dreamworld of a hypothetical future. Whatever you do, you must make it contemporary. Make it matter now. You must give us a new path to tread, even if it carries the footfalls of old soles. You must not be immune to the weird urgency of today.
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