Top 1200 Text Me Quotes & Sayings - Page 5

I've reached the point where people text me randomly for favors, like, 'Hey can I pick your brain?' People I haven't talked to in years are asking for favors. It's like, 'Wow people really got some nerve.'

The text is a limited field of possible constructions.

The text is your greatest enemy.

I really enjoy fusing text and music.

I'll always geek for a Ric Flair text.

If there's any questions, I still will shoot him a text or shoot him a call and he'll definitely help me out. That's the type of person Richard Sherman is. He's always willing to help.

Nobody ever asks me why my characters don't text each other. Besides, as soon as you put something 'electronic' in a book, it's already out of date by the time it's published: everything will have changed. Human emotion, on the other hand, will never change.

Text without context is pretext.

Text is the gateway drug to real time marketing.

Acting doesn't bring anything to a text. On the contrary, it detracts from it.

Objects are better than text at conveying narrative

A text is evolutionary by its very nature.

Text first, rhythm second, melody third.

I think what matters most in literary work is the context, not the text.

It's funny how intimate it feels to get a text.

Cheap music, childish images, the vulgate in language, in its crassest sense, can penetrate to the deeps of our necessities and dreams. It can assert irrevocable tenure there. The opening bars, the hammer-beat accelerando of Edith Piaf's Je ne regrette rien - the text is infantile, the tune stentorian, and the politics which enlisted the song unattractive - tempt every nerve in me, touch the bone with a cold burn and draw me into God knows what infidelities to reason, each time I hear the song, and hear it, uncalled for, recurrent inside me.

Footnotes -- little dogs yapping at the heels of the text

As I recall, you promised to CALL when you finished the book, not text.

I have an iPhone, and I can text, and I can use the phone, and I can even take pictures with it.

I'm hopeless by e-mail, by phone, by text.

Usually in theater, the visual repeats the verbal. The visual dwindles into decoration. But I think with my eyes. For me, the visual is not an afterthought, not an illustration of the text. If it says the same thing as the words, why look? The visual must be so compelling that a deaf man would sit though the performance fascinated.

We've switched to text messages, we do anything we can to avoid being on the phone.

Every text assumes a reader.

The text for me is the musical score. I'm the instrument. My voice is the instrument. My voice is articulating the sounds which are coming through the imaginings and visitations in my head, and I'm making these sounds but I've selected them from an ocean of sound.

I can't text. My fingers are too big.

To me experimental fiction ultimately is about the experiment and I'm not interested in experiments for their own sake, and if anything I've always steered a bit clear of that kind of thing, because it seems gimmicky to play around with text rather than do the work of telling a story and creating characters.

I have never, so far, in all the studies I have done, met a contradiction between what the human, experimental and natural sciences are telling us and the Islamic rules. In fact, the opposite is true: anything that is coming from the modern sciences is helping me better understand the text. It's not a contradiction. It's a relation.

I really like the interplay between thinking of text as ephemeral and thinking of it as a concrete, physical thing. With almost anything that I write, I'll stay completely immersed in the electronic text of it for a period of time and in another period, I'll stay immersed in it as a physical thing that can cut your skin. So with the apocalypses, I had them taped all over the wall and they had codes on them. Sometimes I would color code them in terms of thematic elements, sometimes in terms of voice, sometimes visual forms or images.

Don't see the point in reading ghost-written autobiographies, even though some of these published lives may fascinate me. The 'ghost' is always present, manipulating an interview into first-person singular text, and it feels like I'm reading a lie.

A lot of my work is about text taken to the point of abstraction.

If the Book of the Law could be forgotten for so many years, who knows what was done to it during those years? Maybe it was lost later, too. And another one replaced it, and that one is no longer the original text. These are questions that perturb me much more than whether it's history or not history.

Music is the melody whose text is the world.

You know, kids text a lot today. It's phenomenal.

People who text a lot are not my favorite thing.

I learn as much from a turtle as from a religious text.

Always argue over text so other people aren't embarrassed!

The facts of life are to the biographer what the text of a novel is to the critic.

If children are studying the 20th century, I'm in their text books.

So much of my game is owed to Thierry. We text regularly.

It's a wonderfully democratic method, publishing a text on the Internet.

I get a text every day from my dad: 'Enjoy the challenge.'

Translations are a partial and precious documentation of the changes the text suffers.

The text says Deuteronomy was lost, but you say it was written then.

The Internet also makes it extraordinarily difficult for me to focus. One small break to look up exactly how almond milk is made, and four hours later I'm reading about the Donner Party and texting all my friends: DID YOU GUYS KNOW ABOUT THE DONNER PARTY AND HOW MESSED UP THAT WAS? TEXT ME BACK SO WE CAN TALK ABOUT IT!

So what I'm trying to say is you should text me back. Because there's a precedent. Because there's an urgency. Because there's a bedtime. Because when the world ends I might not have my phone charged and If you don't respond soon, I won't know if you'd wanna leave your shadow next to mine.

I was never really satisfied with writing only text or with the way my texts looked when they were published. Most online journals have a pretty lame sense of typography - bad font, counter-intuitive margins and line spacing - that it makes me sour on my writing.

This is too much madness to explain in one text.

The physics of undergraduate text-books is 90% true.

What I love in a woman is not what she is in and for herself, but the side of herself she turns towards me, what she is for me. I love her as character in our common love story. what wuld Hamlet be without the castle at Elsinore, without Ophelia, without all the concrete situations he goes through, what would he be without the text of his part? What would be left but an empty, dumb, illusory essence?

Apply yourself wholly to the text; apply the text wholly to yourself.

More than conventional picture books, the notebook format allows me to leap from words to images, and this free-flowing back-and-forth inspires my best work. It reflects the way I think - sometimes visually, sometimes verbally - with the pictures not there just to illustrate the text but to replace it, to tell their own story.

There are usually multiple messages that could be preached from the same text.

Occasionally, I come to moments of anguish in the text.

I’ll respond to your text message, baby.

How many of you text message? It's a great way of not communicating.

The Text is not a definitive object.

Silence is a text easy to misread.

No text message will ever replace the first kiss.

We have cut the text, but what remains are Shakespeare's words.

Ultimately, as an actor, it comes down to committing to the text in the script.