Top 450 Bounce Quotes & Sayings - Page 8

We played a show the other week at this festival and it was an audience that I'd never normally play in front of. That's one the greatest things about festivals: you don't always get your audience, you get people who just pop in out of curiosity. The reaction was amazing; there were people dancing, which we've never had, I guess because the message is pretty powerful and the performance is a lot more visceral than it has been previously. The audiences seem to be reacting to that really well and it's a wonderful thing, because at a performance you really bounce off your audience.

When I went to an Aspen seminar on "American Scriptures" - the bicentennial of the Declaration and they discussed the preamble and the Gettysburg Address and much more, but not Lincoln's Second Inauguration, I challenged that omission and they said find something on it and to my astonishment, at that time, there was no book or long article that really did it. So I wrote one that attempted to do it justice. Although obscurely published, that essay got a nice bounce. Somehow David Donald saw it, and in his notes to his biography singled it out.

Find something you like, go into a room, close the door and read it aloud. Read it aloud. Everybody in the world who likes dance can see dance, or hear music, or see art, or admire architecture - but everybody in the world uses words who is not a recluse or mute. But the writer has to take these most common things, more common than musical notes or dance positions, a writer has to take some adverbs, and verbs and nouns and ball them up together and make them bounce.

I used to think that animation was about moving stuff. In order to make it really great, you bounce it, squash it, stretch it, make the eyes go big. But, as time went on, I started loving animating a character who had a kind of burning passion in her heart. Suddenly, animation became for me not so much about moving stuff as it was about moving the audience.

The Deliverator belongs to an elite order, a hallow subcategory. He's got esprit up to here. Right now, he is preparing to carry out his third mission of the night. His uniform is black as activated charcoal, filtering the very light out of the air. A bullet will bounce off its arachnofiber weave like a wren hitting a patio door, but excess perspiration wafts through it like a breeze through a freshly napalmed forest. Where his body has bony extremities, the suit has sintered armorgel: feels like gritty jello, protects like a stack of telephone books.

In my safe corporate job, I might have made one decision of real significance a year. As an entrepreneur, it feels like I'm making a decision every minute - I have lots of balls in the air, and so yes, sometimes I drop one or two. And for the most part, the balls are made of rubber and they bounce. So instead of carrying one ball very carefully, being worried that I might not be holding it at exactly the right angle, I am juggling hundreds, and I have to remind myself to appreciate all the balls I keep up in the air for every one that gets dropped.

Sometimes by a woodland stream he watched the water rush over the pebbled bed, its tiny modulations of bounce and flow. A woman's body was like that. If you watched it carefully enough you could see how it moved to the rhythm of the world, the deep rhythm, the music below the music, the truth below the truth. He believed in this hidden truth the way other men believed in God or love, believed that truth was in fact always hidden, that the apparent, the overt, was invariably a kind of lie.

I don't like comparisons with football. Baseball is an entirely different game. You can watch a tight, well-played football game,but it isn't exciting if half the stadium is empty. The violence on the field must bounce off a lot of people. But you can go to a ball park on a quiet Tuesday afternoon with only a few thousand people in the place and thoroughly enjoy a one-sided game. Baseball has an aesthetic, intellectual appeal found in no other team sport.

Puddleglum,' they've said, 'You're altogether too full of bobance and bounce and high spirits. You've got to learn that life isn't all fricasseed frogs and ell pie. You want something to sober you down a bit. We're only saying it for your own good, Puddleglum.' That's what they say. Now a job like this --a journey up north just as winter's beginning looking for a prince that probably isn't there, by way of ruined city nobody's ever seen-- will be just the thing. If that doesn't steady a chap, I don't know what will.

You write down a paragraph or two describing several different subjects creating a kind of story ingredients-list, I suppose, and then cut the sentences into four or five-word sections; mix em up and reconnect them. You can get some pretty interesting idea combinations like this. You can use them as is or, if you have a craven need to not lose control, bounce off these ideas and write whole new sections.

I tend to write pretty much by myself. I always did that anyway. I used to write with Ron Strykert 'cause he was the only guitarist and we played well together. We lived in the same place. I would play a certain style and he would kind of dance around what I did, in a sense. I learned from him and also vice-versa. With this band, I think I bounce ideas off everybody. Perhaps on the next album they'll be more collaborative stuff, but for the last 2-3 years, I've been pretty well writing by myself.

Sounds travel through space long after their wave patterns have ceased to be detectable by the human ear: some cut right through the ionosphere and barrel on out into the cosmic heartland, while others bounce around, eventually being absorbed into the vibratory fields of earthly barriers, but in neither case does the energy succumb; it goes on forever - which is why we, each of us, should take pains to make sweet notes.

Turbulence is a condition that we all experience during a flight when the plane is bouncing around by competing air currents. By analogy, the economy may bounce around a lot because of competing currents of public moods and investments. One week everyone might be optimistic and then suddenly something happens to turn everyone into pessimists. Investment dries up and investors become risk averse. A sudden piece of good news then turns around the public mood.

I do not think I exaggerate when I say that some of us put our offering in the plate with a kind of triumphant bounce as much as to say: "There - now God will feel better!" I am obliged to tell you that God does not need anything you have. He does not need a dime of your money. It is your own spiritual welfare at stake in such matters as these. You have the right to keep what you have all to yourself - but it will rust and decay, and ultimately ruin you.

I want to be strong. I want to be able to hit people. I want people to be able to bounce off me. When I go out there and play, I play to intimidate people. If someone gets hit down by me, they're going to think twice about coming near me again.

It often feels like a tremendous amount of work is required to get an idea moving forward, like pushing a train uphill. But at a certain point, the thing takes on its own momentum, and takes unexpected turns. So it's that feeling of holding on, rather than pushing it, that is the most exciting thing. It's that need to occasionally bounce off the walls, letting anything happen for any reason, and having nothing to guide you that is the joy.

My view on well-being and fulfillment comes from Maslow and positive psychology, and that is that you're satisfying three sets of needs. First need is physiological and safety needs: Got to satisfy those first. And the second is you got to satisfy your community needs because we're social animals, and if we don't have that, we're empty and we don't have people to share knowledge and bounce things off of, and challenge ourselves. And then the third is the idea is to find a calling.

My opening line to my students, and a recurring theme in my classes, was that the big design problem isn't designing a house for your parents or yourself, a museum, or a toaster, or a book, or whatever. The big design problem is designing your life. It's by the design of your life that you create the backboard off which you bounce all your thoughts and ideas and creativity. You have to decide what it is that you want to do each day.

zoegirl: have u named the chicks? SnowAngel:yes, but i keep getting them mixed up. so now i call all of them "squishy." they're the collective squishy. zoegirl: *r* they squishy? SnowAngel: when you squeeze them,yes. but not in a yucky way. SnowAngel: they're growing on me, the little squishies. altho 1 of them pooped on my pillow. zoegirl: u let them on your bed? SnowAngel: they like it when i bounce them.

I would've said yes before I saw Aaron Gordon do what he did. And Zach LaVine went nuts as well. I think Gordon should've won for what he did. But what LaVine does is amazing. I don't know where he gets that bounce and that glide but it's incredible. I hope both those guys compete it in next year. Over the last years or so, I'd say the three-point contest has been more entertaining than the dunk contest, but this was really special this year.

Man must be able to recover, to win out, triumph over adversity. And I don't mean just the little adversity like paying his room rent or something. But those deep, deep human adversities because something he has faith in has turned to ashes. Where someone he loves turns out to be just another joke. You get to the point of suicide. But you can bounce back - they can't completely destroy you.

The more serious the situation, the funnier the comedy can be. The greatest comedy plays against the greatest tragedy. Comedy is a red rubber ball and if you throw it against a soft, funny wall, it will not come back. But if you throw it against the hard wall of ultimate reality, it will bounce back and be very lively. Very, very few people understand this.

I like being able to bounce between writing movies for people like Kevin Sorbo to making very personal films like orange county hardcore sinister to making a movie like [Wyatt Earp and the Holy Grail: The Tale of the Three Gates], which is made for the pure pleasure of getting together with creative people and making a movie. Alex Cox would be proud.

There are a lot of things I love about acting and one of the things I love the most is, here you are taking words off a page, working with someone you might have met just a week before, and somehow you're creating a moment that separates itself from space and time. You feel an incredible rush when you have that moment with another actor. You can feel it bounce off one another. Every take you do can reveal different things that were hiding. And things outside the story get revealed to you, too. It's an incredible way to work and to experience a story.

I have always been really picky about the films that I make, because I think that there's such an incredible opportunity to bring up questions when you're making movies, and some of my favorite films bring up big questions. They are movies that, when you walk away from it, it hits you as something deeper, and it's a great, fun way to be able to bounce around some of these harder concepts in our heads.

When you bounce your eyes away from a sexual image, immediately pull from your memory a pure image. Maybe a wedding picture, or a vacation experience with your family, or your buddies. There are thousands of positive images you can pull from your memory within seconds to replace the sexual images you're tempted with.

My introduction into making records was through a sampler, and that's what I did for a long time. And through doing that over a period of time and kind of coming out of it, I've realized that one of the reasons it works so well for me, one of the reasons psychologically I took to the process so well, was because I'm a problem-solver by nature. If you stick me in a void, I don't do so hot. As soon as there's one little thing to spark an idea, and then I have something to bounce off of - then I'm all right. But until I have that, like in that void, it's kind of hard.

I loved playing (Aaron Echols on 'Veronica Mars.') I was really sad when I got my head blown off, but...that seems to happen to me. I seem to be murdered on all of these shows. But, okay, as long as the checks don't bounce, I'm all right with that. Besides, when Aaron Echols was killed, as I recall, he'd just had sex with a beautiful young girl, he was smoking a Cuban cigar and drinking a rare, 18-year-old brandy, and watching himself on television. If you gotta go, I think that's probably the way to go.

I have a very close friend who is a brilliant clown, and I always wanted to do a show with him. So I did one year at La MaMa Theatre. I had not done stilts before that show, and I had about two weeks to learn how to do that, and they were just made with off-off Broadway money. The ones that I had in Rogue One were made by [Industrial Light & Magic]. So they were really easy. They were made with actual prosthetic feet on the bottom. They were athletic, in a way. I could run in them. There was a bounce to them that I could use.

I think there's something in collaboration - the fact that you can sit there and bounce ideas off of someone. It definitely matters who the person is, because certain people... The act of collaboration, where you can talk to someone, hang out, get ideas going, there is something in that. That's similar between everyone. But I think every individual collaborator is different, because they have different brains and emotions and ways of working, so it changes. Definitely.