Top 596 Scott Quotes & Sayings - Page 10

Well I'm not making predictions. But the point I can - what I can say to you to contribute to your thinking is as somebody who has been out knocking on doors, doing the street corners, speaking to constituents right across the country is that the Government - that people understand that the Government's message of jobs and growth is addressing their concerns and they have a level of - a high level of confidence that Malcolm Turnbull and Scott Morrison are the people who can deliver.

I've been really happy to be in that conversation with Scott [Derrickson] for a few months now. We started chewing this cud a while ago. He is, as you probably know, an extremely erudite thinker in terms of religious philosophy and just thinking about a modern take on something really, really ancient, about how to imagine living beyond any physical bounds, which we're on the verge of now.

The seriousness or otherwise of the subject matter is often irrelevent to the question of whether a book is any good. F Scott Fitzgerald wrote a great and beautiful novel which mainly involved shallow people going to parties in a rich guy's house. By contrast, all sorts of terrible books are published every month about men slaughtering people for no reason - a serious matter which, in itself, does not make the author worthy of serious consideration.

Rich people don't have to have a life-and-death relationship with the truth and its questions; they can ignore the truth and still thrive materially. I am not surprised many of them understand literature only as an ornament. Life is an ornament to them, relationships are ornaments, their “work” is but a flimsy, pretty ornament meant to momentarily thrill and capture attention. Why didn't I reread my F. Scott Fitzgerald sooner? I might have saved myself some time.

At any rate, that’s how I started running. Thirty three—that’s how old I was then. Still young enough, though no longer a young man. The age that Jesus Christ died. The age that Scott Fitzgerald started to go downhill. That age may be a kind of crossroads in life. That was the age when I began my life as a runner, and it was my belated, but real, starting point as a novelist.

Jack Geisinger. He passed, but we were friends up until the end. We took a dress design and apparel class, and I realized that I didn't like it, mostly because I couldn't sew very well. I then change over to textile design, where I could draw and paint. It was perfect for me. I got to the height of my career as a textile designer. I was working with people like Donna Karan, Jean Muir, and Scott Barrie.

I don't have this fantasy about marriage anymore. Everyone says it takes hard work. Well, it kind of does -- and I'm much more pragmatic about romance than I used to be. [With Scott] I wanted to see him as a white knight and was crushed whenever anything normal happened. I wanted to be the princess. Now I'm much more willing to see myself as human and flawed, and accept someone -- the whole picture. My life is definitely changing for the better. I couldn't be happier or feel more comfortable with the direction it's going in.

While writing 'Bhavesh,' I pretty much chewed up every single graphic novel I could get my hands on, so all the way from the entire 'Batman' series, Frank Miller's 'Batman,' Ed Brubaker's 'Batman,' Scott Snyder's 'Batman,' all the way through 'Daredevil' to '100 Bullets,' through so many other graphic novels.

I am not a conservative but I have spoken out for years against the staggering amount blind hatred directed at black conservatives by liberals. Liberals are shockingly quick to demean and dismiss brilliant black people like Rice, Carson, Supreme Court Justice Clarence Thomas, U.S. Senator Tim Scott (R-SC), Professor Walter E. Williams and economist Thomas Sowell because they don't fit into the role they have carved out for a black person in America. Black Americans must be obedient liberals on all things or risk being called a race traitor or an Uncle Tom.

With a historical novel you know that liberties are being taken. Since Walter Scott, we know that poetic license, dramatic license, that events been conflated and that liberties have been taken, characters ditto, dates rearranged. But people don't seem to understand that movies are fictions, they are dramatizations, at least historical movies, and we should accord the moviemakers some of the same understanding and latitude. When you go to a movie you know it's a dramatization and not history.

Scott-there's nothing in the world I want but you-and your precious love. All the material things are nothing. I'd just hate to live in a sordid, colorless existence-because you'd soon love less-and less-and I'd do anything-anything-to keep your heart for my own-I don't want to live-I want to love first and live incidentally.

The biggest thing right now is to know that I just didn't give up. It would have been the easiest thing for me to just go ahead and pull out of the tournament with what has been going on over the last week - just to be up there with my mum and support her. But I really wanted to come down here and play with Adam (Scott) and really try to win the World Cup and we achieved that which was great.

When Scott and I started, every time we performed we wrote a whole new bit. We didn't know this wasn't the way things were done because we were just starting. But we needed the new material anyway. And it's nice, every time that Matt Besser does the show he does a whole new bit. And it's nice to offer up a place where people can be that experimental while offering some solid, proven comedy as well.

I started writing when I was 26, so I don't even know what year that was. I wrote a script for me to star in. A friend of mine, who was an actor that I would compete against a lot, had written a script and was taking all these meetings. He just kept pushing me and was like, "You got to do it. You're going to love it!" He's a very successful screenwriter now. His name is Michael Bacall and he wrote 21 Jump Street, Project X, and Scott Pilgrim vs. the World. So it was a few factors.

Born Losers is a beautiful piece of writing. Scott Sandage is history's Dickens; his bleak house, the late nineteenth century world of almost anonymous American men who failed. With wit and sympathy, Sandage illuminates the grey world of credit evaluation, a little studied smothering arm of capitalism. This is history as it should be, a work of art exploring the social cost of our past.

Horror hostess, bondage goddess, Charles Addams cartoon comes to life, Vampire was every first-generation fanboy's wet dream. Scott Poole takes us on an unforgettable ride through the overlapping underworlds of B&D magazines, Hollywood noir, and early political liberation movements that inspired actress Maila Nurmi to challenge a postwar culture bent on stifling women's choices, bodies, and desires. This book is a subversive masterpiece.

Those traumas when it comes to the historical past generation to generation; our children, our grandchildren, our future grandchildren learn these behaviors. We have to know that they exist and we have to take care of those traumas and learn to heal from them. This movie shows that perspective from Scott's character, and I love it. It shows the American Indians as the ones who respect and help out when people are needed. It's a nice little twist.

As we watch Republican candidates like Scott Walker and Rick Perry and Bobby Jindal and George Pataki, and even Jeb Bush and Chris Christie, guys who are either out or who are really struggling to stay in, it might seem like the Republican Party is no longer a very strong party. There may be people who use the Republican label, but the party itself might feel like it`s in a bit of disarray.

When you saw the movie "The Curious Case of Benjamin Button," that was Michael [Jackson]'s story write large. Born as an elderly person, Benjamin Button was, in the F. Scott Fitzgerald novel and in the film starring Brad Pitt, he dies as a newborn child. Michael Jackson's childhood was one of enormous, prodigious production.He was a child prodigy, he was a wunderkind.

Upon its debut, The Room was a spectacular bomb, pulling in all of $1,800 during its initial two-week Los Angeles run. It wasn't until the last weekend of the film's short release that the seeds of its eventual cultural salvation were planted. While passing a movie theater, two young film students named Michael Rousselet and Scott Gairdner noticed a sign on the ticket booth that read: NO REFUNDS. Below the sign was this blurb from a review: “Watching this film is like getting stabbed in the head.” They were sold.

Similarly, the press never tested many of the assumptions about WMDs. One of the great myths about the WMD issue is that everybody believed Iraq had them. Well, that's not true. There were a number of people in the intelligence community and the State Department who were skeptical, and many analysts in the Department of Energy were dubious about Iraq's nuclear capability. There were also people like Scott Ritter who were saying quite accurately what was going on.

When I introduce you to somebody, his name is Big Pun. When I introduce you to somebody, his name is DJ Khaled. When I introduce you to an artist, her name is Remy Ma. If I introduce you to somebody, it's Cool and Dre or Scott Storch - people who change the face of the game.

There are people who follow me on Twitter and tell me how much they don't like me, how much they don't want me on the show, and that they hope I die. And it's not just about the character. They tell me how they've never liked Scott Foley, and that he's a stupid, white, plain-bread looking fool.

Ornette Coleman wasn't sure whether he was going to continue with Charlie Haden-Charlie had some personal problems. I said "You've got to be kidding! There's no one on the globe who will be able to accompany you" and no one ever did. [Scott LaFaro] was playing atonally and certainly Ornette was not an atonal player. Jimmy Garrison was a tonal player. He wasn't even polytonal or atonal.

She looked up, her face pink as a Christmas ham. “You ever try chasing down a car?” she gasped. “I’ll one-up you. I gave Scott my hot dog and asked if he’d go to Summer Solstice with me.” “What does the hot dog have to do with anything?” “I said he’d be a wiener if he didn’t go with me.” Vee wheezed laughter. “I’d have run harder had I known I’d get to see you call him a wiener.

Here's a list of some of the folks who have written Swamp Thing over the years: Alan Moore, Len Wein, Scott Snyder, Brian K Vaughan, Joshua Dysart, Rick Veitch, Grant Morrison, Mark Millar. That's not even a full list, but you see my point - ol' Swampy has had some seriously brilliant people behind the keyboard in his time.

When I had finished the book I knew that no matter what Scott did, nor how he behaved, I must know it was like a sickness and be of any help I could to him and try to be a good friend. He had many good, good friends, more than anyone I knew. But I enlisted as one more, whether I could be of any use to him or not. If he could write a book as fine as The Great Gatsby I was sure that he could write an even better one. I did not know Zelda yet, and so I did not know the terrible odds that were against him. But we were to find them out soon enough.

I never saw my dad cry. My son saw me cry. My dad never told me he loved me, and consequently I told Scott I loved him every other minute. The point is, I'll make less mistakes than my dad, my sons hopefully will make less mistakes than me, and their sons will make less mistakes than their dads.

I come from a musical family. Mom was a piano teacher for a large portion of her life, and Dad is a saxophone hobbyist who grew up in England during the heyday of Tubby Hayes and Ronnie Scott. I started taking piano lessons from my Mom, but it's too easy to slack off with your parent, so she passed me on to a friend of hers, where I got more motivated to play music by playing pop hits and TV themes. I did some classical training, but I was always more into the really thematic stuff.

Sometimes I think that the amount of time you live on earth is just an inverse reflection of how good you were in a previous existence. For example, infants who die from SIDs were actually great people when they were alive for real, so they get to go to heaven after a mere five weeks in purgatory. Meanwhile anyone Willard Scott ever congratulated for turning one hundred two was obviously a terrible individual who had many many previous sins to pay for and had to spend a century in his or her own unknown purgatory even though the person seemed perfectly wholesome in this particular world.

Poetry died as a commercial form and then it died as a serious art form. No one serious touches it. It used to be that somebody like F. Scott Fitzgerald could make a high middle-class income from working as a short story writer for the Saturday Evening Post and other outlets. That doesn't happen anymore. It used to be that a legitimate playwright could make a living on Broadway from writing decent plays.

All my big heroes are literary, writers. I'd love to meet Jimmy Hendrix or John Coltrane, but I'd much rather meet Thomas Wolfe, or F. Scott Fitzgerald. Words and books have always meant a lot to me. That someone can take words and string them together to where they will move me is just a hell of a thing. It's amazing to me; more amazing to me than music or painting. It's always been the written word or the spoken word, like a great lecture or a great lyric, or a great poem. To me it's just amazing. And I always aspire toward capturing that, or my version of it.

I don't have 30 days and 30 nights, to show you why all the hoochies say there's nothing finer than Scott Steiner, but all I need is one night to have your wife call me for the rest of her life, the big bad booty daddy, so this goes to all my freaks out there, Big Poppa Pump is your hook up, hollar if you hear me.

Honestly, some cases have been more famous than others - like Tot Mom, or Steven Avery, or Scott Peterson - but I would not characterize any one as being more special to me, more intriguing, or more important because that would be placing one victim as more important, or one defendant as more [notorious] than others, and I don't think that's right.

I know that, for me, working with people like Robert Rodriguez and Ridley Scott and the Coen brothers and Oliver Stone and Gus Van Sant was so much easier than working with a lot of the people I had worked with before, because with these guys, there's not a lot of ego involved. It's all about the work. It's all about how to make the story better. So at the end of the day, you feel a trust that you usually don't feel - or at least I haven't felt in the past with most people.

Obviously, there's a big homage to Outland in Moon. I obviously had Ridley Scott's response, which was great. But Peter Hyams really loved Moon and was really enthusiastic about it. He was also enthusiastic about the fact we'd remembered Outland and had remembered it fondly. I think, for him, it was like some kind of edification that there were people out there who loved his film. So, that was a really lovely feeling.

I really discovered [Dr.Strange] through hearing about this film and first meeting Scott [Derrickson] and getting into it and just opening up and saying, "Okay, this is, like all comics, very much of its era," and my first question was, 'How do you make this film? Why do you make this film now?' and the answers were so enticing that I was like, "I'm in."

My mom had this inate ability. Whatever town my mother moved to, the second she walked into town, she would instantly attract the alpha loser of that town. This guy was not a good guy. This guy was half O.J. Simpson and half O.J. Simpson. Scott Peterson sprinkles on the top, a side of Robert Blake. You know, not a good guy.

I had two projects that fell apart during preproduction. The first one was this movie that Judd Apatow and I had written about two guys following the Rolling Stones. It was going to be half concert film, half pseudo-documentary. It was Mick Jagger's idea.The other one was Simple Plan, based on a novel by Scott Smith. It's a great book - really stark, not a comedy - about a guy who finds $4 million in a plane crash and decides to keep it.

If you like poetry let it be first rate, Milton, Shakespeare, Thomson, Goldsmith Pope (if you will though I don't admire him), Scott, Byron, Campbell, Wordsworth and Southey. Now Ellen don't be startled at the names of Shakespeare, and Byron. Both these were great Men and their works are like themselves, You will know how to chuse the good and avoid the evil, the finestpassages are always the purest, the bad are invariably revolting you will never wish to read them over twice.

Whatever field you can do that, that's where you want to do it, and I think that's why people like David Fincher and Ridley Scott are interested in it, too, because when you sit down on a meeting in HBO and they're like, "More, more." You're just like, "Oh yeah, I love this." Sometimes it's a little harder in film. I think also it's a great audience, take advantage of it. It's a great audience.

The first film that really knocked me out was Alien by Ridley Scott. This is a great movie because no matter how many times I watch it, I still find myself fully invested in the characters despite the fact I know what is coming. I think it was this type of mastery of storytelling and the ability of bringing the audience so completely into another world that made me want to become a director.

Mindi Scott has a real talent for getting inside her protagonist's head. She sketches out Coley's story in grand swathes, and then paints in all the little details, so that you feel as though you are enmeshed in Coley's brain: thinking her thoughts, feeling her confusion, anger, and, in the end, pain. I just don't think it's possible to read this book and not identify with Coley in some way.

The annual award of $5,000 goes to an author for a meritorious book published in the previous year for children or young adults. Scott O'Dell established this award to encourage other writers--particularly new authors--to focus on historical fiction. He hoped in this way to increase the interest of young readers in the historical background that has helped to shape their country and their world.

How much he was shaped by being in the hospital so much as a kid. Because he was sick, he was a reader, and because he was a reader, Kennedy had heroes. Because he had heroes, he went into politics. [Kennedy liked Sir Walter Scott, King Arthur's knights, and biographies of political leaders.] If he hadn't been sick, he might have been like everybody else in the family, a jock.

I dealt with men who had tempers, and who could get violent-Lord knows how I had to defend myself against Howard Hughes and Frank Sinatra, and from Artie Shaw's verbal abuse. But George [C. Scott] was a different category of animal when he got drunk. He'd break into my hotel room, which he did in Italy, London and at the Beverly Hills Hotel, attack me to where I was frightened for my life, and scream, 'Why won't you marry me?' Well, I would never marry a man who couldn't control his liquor. Me, I'm a happy drunk. I laugh, I dance. I certainly don't break bottles and threaten to kill.

An eye-opening moment in my life, a very defining moment, was the first time I met Susan Sarandon [before shooting Thelma & Louise]. We were going to meet, just Ridley [Scott] and Susan and I, to go through the script and see if we had any thoughts or ideas. I was reading the script, and in the most girly way possible, meaning that if it was a line that could change or something different I'd like to see, I would think about each one and say, "Well, this one can wait till the set because I don't want to bring up too many things."

Yeah, Travis Scott's dad taught me how to ride minibikes and how to repair the engines. His name's Jack Webster. Jack had a drum set and his brother had a bass. So I used to play with them, and that's what started me wanting to get into music and take it serious. And this is before rap.

Activist Supreme Courts are not new. The Dred Scott decision in 1856, imposing slavery in free territories; the Plessy decision in 1896, imposing segregation on a private railroad company; the Korematsu decision in 1944, upholding Franklin Roosevelt’s internment of American citizens, mostly Japanese Americans; and the Roe decision in 1973, imposing abortion on the entire nation; are examples of the consequences of activist Courts and justices.

Knox was engaged in a theological discussion with scientist John Scott Haldane. 'In a universe containing millions of planets,' reasoned Haldane, 'is it not inevitable that life should appear on at least one of them?' 'Sir,' replied Knox, 'if Scotland Yard found a body in your cabin trunk, would you tell them: 'There are millions of trunks in the world; surely one of them must contain a body? I think the would still want to know who put it there'.

When the Duke [W.J.C. Scott-Bentinck] died, his heirs found all of the aboveground rooms devoid of furnishings except for one chamber in the middle of which sat the Duke's commode. The main hall was mysteriously floor less. Most of the rooms were painted pink. The one upstairs room in which the Duke had resided was packed to the ceiling with hundreds of green boxes, each of which contained a single dark brown wig. This was, in short, a man worth getting to know.

Here are a few of the actors who have brought my novels to TV life: Bill Pullman, Holly Hunter, Frances McDormand, Julian Sands, Gena Rowlands, Rob Lowe, Julia Ormond, Chelsea Hobbs, Tate Donovan, Anne Heche, Max Martini, Campbell Scott, Kimberly Paisley-Williams, Alexa Vega, and the late legends Richard Kiley and Kim Hunter.

Do you ever think of moving back?" "To Coldwater? Heck, no. England suits me fine. These Brits love my accent. The first time Gavin asked me out it was just to hear me talk. Lucky for him, it's one of the things I do best." All teasing left her eyes. "Too many memories back home. Can't drive down the street without thinking I see Scott in the crowd.

Scott, if your life had a face, I would punch it. I would punch your life in the face.

My favorite - my very favorite movie, which I suppose is a bit of a guilty pleasure in that it's like, you know, every scene, you know, pushes every button, is 'True Romance' directed by Tony Scott with Patricia Arquette and Christian Slater, and it's a fantastic, fantastic film, very violent, very romantic.

There was once a great actor named George C. Scott. He was on stage in the Delacourt Theater in Central Park, where they do Shakespeare every summer, and he was playing Shylock in The Merchant of Venice. At one point he took the robes he was wearing and just started flipping them up in the air, out of nowhere. And later, an actor said to him, "What was that, George, what were you doing?" And he said, "They were sleeping." You're always trying to catch them.