Top 1200 Handwritten Notes Quotes & Sayings - Page 17

In comics, there are depths that don't reveal themselves immediately, and the stuff that you might consider anal about 'Watching the Watchmen' - like the notes where I plot the rotation of a perfume bottle through the air - might not be particularly obvious to anyone who reads it.

Where are the songs I used to know, Where are the notes I used to sing? I have forgotten everything I used to know so long ago. ("The Key-Note")

I would go to the store, I would buy cassette tapes, and I would read the liner notes and sort of subconsciously creating the connections between the rappers that I was reading and the poets that they were teaching us in school.

On a personal level, I send out about 20 thank-you notes a day to staffers, on all levels. And every six weeks I have lunch with a group of a dozen or so employees, to get their perspective on the business, to address problems and to get feedback.

Remonetisation has happened at a fast pace, and that was part of the plan that, subsequent to the withdrawal of the specified bank notes, our production plans and supply processes would ensure that the remonetisation happened as quickly as possible.

When I am reading for research and making notes, I use a cleverly designed curved lap-desk, and I sit up dutifully, mindful of ergonomics and suchlike concepts. When reading for pleasure, I take advantage of the 'recline' in recliner.

Painting is similar to music. You get a couple or words or notes or chords that excite you, and you just follow them and add a bit more and see where it takes you. That's the thrill for me. It still is a thrill, which is amazing after all this time.

You take the pen, and the lines dance. You take the flute and the notes shimmer. You take the brush, and the colors sing. So all things have meaning and beauty in that space beyond time where you are. How, then, can I hold back anything from you?

It's nice to hear when someone gets something and the sincerity is enough to tickle you. They can have the wrong notes but the essence of it is there, so it makes you laugh, because even when Frank [Zappa]'s music is sad, it makes me laugh.

The actual writing time is a lot shorter than the thinking time. I don't do too many notes. I keep it mostly in my head. I usually start writing a new book around January, and it's due October 1.

When I'm interviewing somebody, I take notes with a Bic Cristal, the classic black-cap, clear-body, medium-weight pen. It works on many levels: You can chew the cap, and if you're really bored, you can bite the end off the back.

There's the classic charitable contribution, which we receive thousands, and we're extremely grateful and they often come with notes from people, which are very heartwarming, about how much difference our products have made in their life on the Internet.

I myself have appeared on countless panels alongside people with whom I've disagreed, at times even vehemently - and yet, the thought of closing out those segments by grabbing their notes and ripping them up has never even crossed my mind.

It's too bad failures don't give seminars. Wouldn't that be valuable? If you meet a guy who has messed up his life for forty years, you've just got to say, 'John, if I bring my journal and promise to take good notes, would you spend a day with me?'

I'm a planner, an organizer. I write things down because you can visually check them off and see progress. Writing things down is a lost art. I've got sticky notes all over my apartment.

I think throughout the day; there are always lines or certain words, and I'll just keep notes in my phone. It might just be one or two words, and then that could inspire a whole song, lyrically.

You can see that there is scarcely an observable fact unworthy of mention in your notes, and yet you could easily spend more time scribbling than watching, and that would defeat the purpose. So be selective, don't be compulsive, and enjoy your note-taking.

As poetry is the harmony of words, so music is that of notes; and as poetry is a rise above prose and oratory, so is music the exaltation of poetry.

May its index point to joy, And moments wing'd with new delights. Sweet may resound each silver bell, And never quick returning chime, Seem in reproving notes to tell, Of hours mispent, and murder'd time.

If a piece requires some specific inflection, I'll record it. I take a lot of notes, and later categorize them, combining them alongside existing ideas, and eventually put a piece together.

I binge write, basically. I do a lot of prep, research, setup. I'll have a pretty detailed outline. Sort of like a beat outline. And then I'll add little notes and dialogue ideas, and I'll just create a 20-page document.

Be serious. You've got to do the job you were hired to do well, but there's always more you can do. When I was an assistant, I would say to myself, 'You may not be an executive, but act like one.' I would volunteer for any creative assignment - read scripts, do 'coverage,' write notes.

You have to be ready, and also you have to discard notions that are fondly held by a lot of musicians, about sequences and notes and about scales and musical systems as a whole. If you think of music as a language, the space part is where you throw out all the syntax.

Poetry is either something that lives like fire inside you -- like music to the musician or Marxism to the Communist -- or else it is nothing, an empty, formalized bore around which pedants can endlessly drone their notes and explanations.

I do write long, long character notes - family background, history, details of appearance - much more than will ever appear in the novel. I think this is what lifts a book from that early calculated, artificial stage.

Christopher Hitchens and I were not friends or even acquaintances. We never met or spoke on the phone, just exchanged occasional brief letters - notes, really - hand-written and snail-mailed at first, e-mailed later.

I don't see anyone for the first hour and a half that I'm awake. I don't like to talk, and I don't like to hear any sounds. People know not to bother me! I use that time to read, and make lists and notes of things I have to do later in the day.

When I was 5 years old, I saw people dancing in my head. In college, I would choreograph for the cultural shows, and in my notes, I would actually create formations of people. It was how my whole brain worked.

I write in longhand and assemble lots of notes, and then I try to collate them into a coherent chronology. It's like groping along in the dark. I like writing and find it challenging, but I don't find it easy.

The roses, the lovely notes, the dining and dancing are all welcome and splendid. But when the Godiva is gone, the gift of real love is having someone who'll go the distance with you. Someone who, when the wedding day limo breaks down, is willing to share a seat on the bus.

I use both instruments with their strengths in mind. Mandolin - no sustain and attack of the right hand, for rhythm. Fiddle - use sustain of the bow and the ability to slide the non-fretted notes, like singing.

I remember Pavarotti telling me, 'Oh, Neil, after seventy, the voice is going to go.' But I've been lucky. You almost have to learn how to sing all over again. You use your diaphragm more. You have to choose the notes and pace yourself.

I always carry a sketchbook around with me, and I sketch whenever I can... I might be in a financial review and be sketching because I find that I actually listen better when I sketch. Truth be told, there are probably more sketches in my books than there are written notes.

You can have a silence full of words. A lute retains, in its bowl, the notes it has played. The viol, in its strings, holds a concord. A shriveled petal can hold its scent, a prayer can rattle with curses; an empty house, when the owners have gone out, can still be loud with ghosts.

It's a magical thing, the guitar. It allows you to be the whole band in one, to play rhythm and melody, sing over the top. And as an instrument for solos, you can bend notes, draw emotional content out of tiny movements, vibratos and tonal things which even a piano can't do.

It's one of my favorite times of day. I'll have an array of notes, things that I want to think about. Something will start to take shape, and I'll play around with it. It's not usually an intense time. It's sort of a playful time. But it's when some really good thoughts arise.

When I was 4 years old my mother put me into an early music education school. That's where they taught you perfect pitch and harmony and how to write music and all that. At that time, one of the homeworks was to listen to all the sounds and the noise of a day and transfer that into musical notes.

From some home a jade flute sends dark notes drifting, Scattering on the spring wind that fills Lo-yang. Tonight, if we should hear the willow-breaking song, Who could help but long for the gardens of home?

Potentially significant, by the way, because we don't know exactly what's in Matt Cooper's notes, and we don't know - and we don't still know the answer to the crucial question of whether it was Rove or somebody else that revealed Valerie Plame's name to him.

Music is the purest form of art... therefore true poets...seek to express the universe in terms of music. The singer has everything within him. The notes come out from his very life. They are not materials gathered from outside.

Some of the first infographics I did started off as notes to myself: trying to plot out, for instance, how IP addresses are allocated. After a while, I thought, 'This is a neat thing I can share with people, and they can follow me along in that process of understanding.'

I wake up around noon, light a cigarette, get a cup of coffee, sit in the bathtub for an hour and daydream, and I usually come up with some ideas... It's a very irresponsible life. The only decisions I make are about the notes I'm writing.

I can almost see the music. It comes in the form of colors - colors jump out at me, and that translates into notes. They come fully formed: the orchestration parts, not just the melodies. Even though they're not always the right ones to use, the initial idea comes like that.

I can't imagine not playing Wynonna, because I get to play so many different things. In any given episode, I get drama and comedy and horror and all the notes of life, and very few shows or movies give you that opportunity.

My mum sent me to an open audition for 'Notes On A Scandal' so I could see quite how many other girls wanted to do this. And I queued up, and I got the job. That was my first-ever audition, and my second was 'Atonement.'

When people hear I have six kids and 16 grandkids, they think, 'Oh, boy, you must get a lot of stories from them.' I don't. It's not like I'm behind the sofa in the living room taking notes while the grandkids carry on.

The biggest lesson to me is that I got the music from somewhere else - the notes, the music my parents listened to, and the stuff I listened to at every age. All of that inspired the music that I made.

Color is a big part of what I do. It's like music. There are only so many notes in the scale, but there are endless permutations; there's no limit to the number. Color on the walls or furniture can reflect back and distort the reality of the true colors of lipsticks and eye shadow.

Some people are heroes. And some people jot down notes.

'Where The Wild Things Are,' I think I could have written on my own. When I brought Dave Eggers on, I already had 60 pages of notes. I technically could have, but I don't think I was ready to. I needed him to be there and help me.

If you owe too much on American Express, and your Diner's Club notes are too hard, take a loan on your Visa, and pay it off with your MasterCard!

I do not think commodities are taken for granted. One of the convergences in time I noticed, and to me seemed very important, was the emergence of paper money. There had been permissionary notes, exchanging money by writing it, but there was no duplicated form of guaranteeing an exchange.

When I start on a book, I have been thinking about it and making occasional notes for some time... So I have lots of theme, locale, subjects and technical ideas... I don't worry about long periods of not doing anything. I know my subconscious is busy.

Grief is a bad moon, a sleeper wave. It's like having an inner combatant, a saboteur who, at the slightest change in the sunlight, or at the first notes of a jingle for a dog food commercial, will flick the memory switch, bringing tears to your eyes.

Sometimes I write less than I'd like but do research. Other times, editor's notes or a copy-edited manuscript or page proofs for a forthcoming novel mean that I need to put my attentions elsewhere for a day or two, but I always come back to writing.

I always have loved the Stradivarius. My teacher, Josef Gingold, he had a Stradivarius. As a treat, he would put it under my chin and let me play a few notes, and I remember that feeling of the overtones, the complexity of the sound. It's like a great wine.

I’ve worked in an economy that rewards someone who saves the lives of others on a battlefield with a medal, rewards a great teacher with thank-you notes from parents, but rewards those who can detect the mispricing of securities with sums reaching into the billions.

A friend of mine who was a founding father of the Church of Satan, who later I compared notes with, said when he was a kid, he too managed to get into Sallys Nude Ranch, and in the corral he saw his Sunday school teacher!!! That was a real epiphany for him. From that moment on he was a Satanist.

I think the way I can sing the way I sing is because of the way I talk to my animals. I hit some really high notes.

In the movies I've done for Sony, they've never given me quadrant specific notes ever. They say "Keep making it. Just make the movie you want to do." Especially in a comedy because comedy is so tone specific.