Top 1200 Wrote Quotes & Sayings - Page 4

I wrote '('Til) I Kissed You' about a girl I met in Australia. Her name was Lilian, and she was very, very inspirational. I was married, but... I wrote the song about her on the way back home.

Anything, even the conceptually most complex material, can be written for general audiences without any dumbing down. Of course you have to explain things carefully. This goes back to Galileo, who wrote his great books as dialogues in Italian, not as treatises in Latin. And to Darwin, who wrote The Origin of Species for general readers. I think a lot of people pick up Darwin's book and assume it must be a popular version of some technical monograph, but there is no technical monograph. That's what he wrote. So what I'm doing is part of a great humanistic tradition.

It's hard to be a hungry young man when you're not hungry anymore. We were very hungry young men when we wrote 'Black Sabbath' and when we wrote 'War Pigs.'

I used to hide my real emotions in gobbledegook, like in In His Own Write. When I wrote teenage poems, I wrote in gobbledegook because I was always hiding my real emotions from Mimi.

Every song brings back memories, like I remember where I wrote all these songs. 'Universal Heartbeat' was my apartment in New York City. 'My Sister' was at my apartment in Boston. I remember places and I remember what I was thinking when I wrote it.

Aldous Huxley took the drug mescaline and then chronicled his experience in the book The Doors of Perception. Now, I don't actually think that's the first thing he wrote: he probably wrote 'my brain is melting' ten thousand times, but it was the book that the critics latched on to.

I always wrote - not about war, necessarily, but I always wrote stories. I tried to write while I was in Iraq. It's not really - I didn't do a very good job, and not about war.

'Hedwig' was the first audition my agent ever sent me on. I still have the slip of paper where I wrote down the appointment. I wrote down, 'Headwitch and the Angry Itch. Yitzhak. Croatian ex-drag queen billed as the last Jewess of the Balkans Krystal Nacht.'

'Marvin Gaye' came about my first day in L.A. It was kind of crazy that that's my first song that I wrote and it blew up that much. What's crazy is the next day I wrote 'See You Again,' so that's pretty interesting. I was trying to prove myself as a songwriter.

But mostly, I wrote songs and Viv wrote songs.

The next song I wrote in Paris years ago in a dream. So I didn't really write it, the universe wrote it. And that's what I believe about music, I believe it belongs to the universe, it comes from there and it's this beautiful energy that we share that transcends normal flash existence and that we inspire each other through.

Never was it [Capitalism] imposed on life as a system, or at all. It grew out of life, not all at once but gradually, and is therefore one of the great natural designs. When it was found and identified by such men as Adam Smith, who wrote its bible, and Karl Marx, who wrote its obituary too soon, it was already working.

'Lucky Man' I wrote when I was twelve years old. I wrote it when I first was given a guitar by my mother. I only knew four chords, but I used them all to write that song. And it just stayed with me, stayed in my head. I didn't even write it on a piece of paper. I remembered it.

In my 30s, I wrote in the back house of a ramshackle Spanish Revival we rented across from the ocean in the Santa Monica Canyon. I wrote thousands of pages there, but in order to see another adult human being, I had to steal out through the brambly side of the house, along the driveway down to the street.

I have known I wanted to be a writer since I was seven-years-old. Seriously. In the second grade I wrote a 21-page story and handed it in to my teacher. She told my mother I was going to be a writer. Since then, I always kept a journal and wrote poetry, plays, stories.

The odd thing is, that I wrote The Great Spring while I had cancer and it's not about cancer. It was after I was done with cancer that I wrote a book about it.

In sixth grade, we all had to write this opinion paper. Most wrote about things like why we should be able to chew gum in class - I wrote about why women should receive equal pay.

Socrates wrote nothing. Christ wrote nothing.

I was asked by a group to write a song on the theme of brotherhood. This was before women's liberation, when brotherhood meant men and women both, so I wrote the song. Since I had always been very fond of the Passion Chorale, I wrote words to that great piece.

'Carbs' is the first song I wrote, and 'I Wanna Boi' is the second song I wrote. I am very proud of every song I made since then. Anything I'm not proud of I wouldn't show people.

I think, when I wrote 'Children of Jihad,' I wrote it with a very optimistic view of what technology can do. Today I maintain that optimistic view, but I'm also aware of the challenges we have. So I would say I'm not a techno-utopian, but I'm a techno-pragmatist.

I met a girl, and two months after we met I wrote 'Nevermind.' And 'Never Go Back' is actually a song I wrote two or three days after the breakup, after a year and a half. Straight continuation of the story.

Me separating from CTE - I'm extremely happy about that because a lot of guys wrote me off, Jeezy included. He really wrote me off.

I always wrote as a vehicle for expression but did not try writing for publication until my mid-thirties, at which time I started writing for magazines. I wrote essays and then short stories, then moved into novels.

I'm a dramatist, so I really always wrote and directed at the same time because when I wrote something, I always put it on its feet. So I'm in love with actors; I always loved actors.

'Creeping Death' - that was a special song for me as a kid, because that was the one that every single Jewish kid thought, 'Oh, Metallica wrote a song for us. He wrote it about the exodus of the Jews from Egypt under slavery.'

I'm no relation to Lillian or Dorothy Gish. Not even way back. But when I first became interested in acting, I wrote a letter to Lillian Gish. She wrote back, discouraging me from entering the business.

I wrote the first draft of my first novel at Michigan, and then I wrote the first draft of 'Salvage the Bones' at Stanford. So I workshopped the entire thing.

I don't know if a novelist ever fully detaches him- or herself from what they wrote and the way they wrote it. I can watch 'Presumed Innocent' again and again, and I will always be bothered by the same things that will never bother anybody else.

John Farrar, my dear friend and songwriter/producer of most of my hits (he wrote "You're The One That I Want" and "Hopelessly Devoted to You," among others), wrote the song ["I Think You Might Like It"] and it captures so much fun and joy! Having that reunion as well, with John and John - made the project even more special!

We wrote our first blog post before we wrote our first line of code.

I worked at 'Mademoiselle,' and then it shut, and I worked at 'GQ' for three years, during which I was freelancing. I wrote for 'Vibe.' I did music reviews. I wrote for 'Time Out.' I was desperate to get into 'Entertainment Weekly' or 'New York Magazine.' Like, desperate.

In high school, I had a teacher there who was really great to me and with whom I finally dared to admit I wanted to be a writer myself, and we did a project where I wrote terrible, 17-year-old fiction. But I remember a couple of the stories. I'd love it if I could read with pride something that I wrote that long ago, but it hasn't happened yet.

What I wrote all the time when I was a kid - I don't want to call it 'poetry,' because it wasn't poetry. I was not that kind of a writer. I was a rhymer. I was a fan of Dorothy Parker's, so maybe I wrote poetry to that extent, but my main focus was the humor of it, and word construction, and the slant. Your words, it's a very powerful experience.

"Only write what you know" is very good advice. I do my best to stick to it. I wrote about gods and dreams and America because I knew about them. And I wrote about what it's like to wander into Faerie because I knew about that. I wrote about living underneath London because I knew about that too. And I put people into the stories because I knew them: the ones with pumpkins for heads, and the serial killers with eyes for teeth, and the little chocolate people filled with raspberry cream and the rest of them.

She [Justice sandra Day O'Connor] wrote - and this is one we should all remember - she wrote that even war is not a blank check for the president when it comes to the rights of the nation's citizens. She held that even this president is not above the law.

I wrote 'Love Foolish,' and when I heard the music for the first time, it felt like this was a song that Twice hadn't done before. I thought the song and music had a very mature tone, so I wrote the lyrics to match. I was inspired by the music directly.

I think it is just something in my head that tells me to keep believing. Andy Spence, my manager at Everton, wrote me a little card before we came away and wrote at the bottom, 'Just remember, it only takes a second to score a goal.'

When I wrote 'East,' I wanted a completely earthy, very sexy, very violent play, so I wrote in verse. I found it not only satisfying but releasing. It gave me an opportunity to play with language. We never played the characters like the yobs that they are, but rather in a slightly heightened way.

Before we started writing we did feel pressure because of the success of the first record. One of the first songs that we wrote was "Out Of My Heart" which is the first single. As soon as we wrote that, we knew we just set the standard and every other song had to be as good if not better.

Every song I ever wrote, I wrote to be heard. So, if I was given a choice that 50 years from now I could either have a dollar or knowing that some kid was listening to my song, I'd go with the kid listening to my song.

The first two songs that I wrote, produced and demoed with my voice on it was that song and then Akon's "Sorry, Blame It On Me." The first two demos I ever wrote and demoed, the two biggest artists at the time took them.

I'm the one who often makes the 'Murder, She Wrote' reference, and ABC hates that, they don't want me to do that. And I say that having never actually watched 'Murder, She Wrote'. I think people have been trying to compare it to crime shows that are on right now, and all I can do is listen. I don't watch a lot of TV.

Paul's the writer. Yeah, I wrote a little of that stuff, but that's just technically true. In spirit, and in essence of the truth, it doesn't matter. So I don't know, maybe I'm being foolish for not being technical. Yeah, I wrote a certain portion of the things.

Did you follow what [General Yehoshafat] Harkabi wrote? Formerly of the Israeli military intelligence service. Remember him? Did you follow what he wrote? He said that it was for the sake of the existence of Israel that we have to accept the rights of the Palestinians to have their independent state.

My father didn't want to go to Manhattan for me, and I came to Manhattan and I have done a great job in Manhattan. And then I wrote a best-seller and I wrote numerous best-sellers.

When I wrote 'High Stakes,' I followed the classical format. I wrote an outline first, then a first draft, then got feedback and rewrote and rewrote it. I'd never done that before.

I always wrote ballads, and I always wrote rockers.

All of the drama with my family and me and my mom and the separation between us and all that crazy stuff - I actually wrote about that. I have a song called 'Dear Mom,' and it's about the trials and tribulations with my mom, so I wrote about that and just everything that I've been through.

I wrote the text of the resignation. I cannot say with precision when, but at the most two weeks before. I wrote it in Latin because something so important you do in Latin. Furthermore, Latin is a language in which I know well how to write in a more appropriate way.

I wrote a lot of lyrics in prison, but they'd all be like, 'Crawls upon the shoulders, hatred in the eyes.' I wrote about 50 songs in there that were all about jail. I've come out and thought, 'I've only served eight weeks; I can't really write a concept album about jail.'

Every time I wrote fiction, I was discouraged, and every time I wrote nonfiction, I was encouraged.

I thought that I wrote songs and wrote music, and that was sort of what I thought I was best at doing. And because nobody else was ever doing my songs, I felt - you know, I had to go out and do them.

I used to come home at night full of inspiration, and sit up with a bottle of Scotch. As I wrote, the words seemed wonderful, just too wonderful to be coming from me. Next morning I always found they were terrible and I could never use anything I wrote.

My first album after 'American Idol' I did with Desmond - we paid for it together, and we literally were together working on it every day for a year and half, just writing. We wrote in New York, Nashville, L.A., Sweden - we wrote with some other amazing songwriters like Diane Warren, too.

After one of my plays came out, I had mixed reviews, some bad and some good. One day, it dawned on me. I thought, 'I wrote a play and he wrote a review, and that's the difference between him and me.'

There's a song called 'All We'd Ever Need,' which is actually the first song that the three of us wrote together on our first album, and when we wrote that song I didn't have any real experience to pull from.

When I was in advertising, I did a great deal of work on television commercials. A co-worker and I wrote a screenplay, which led to a few more screenplays, and some were optioned by production companies. I was advised to move to California but didn't want to make the move. I decided to use another form of storytelling, so I wrote a novel.

I came from a family where, you know, we sat down at the table every night, and you better have a story to tell. My father never wrote his stories down. And you know, I learned that they went farther if you wrote them down.

In the work of the greatest geniuses, humble beginnings will reveal themselves somewhere, but one cannot trace the slightest sign of them in Shakespeare ... I am not concerned with who wrote the works of Shakespeare ... but I can hardly think it was the Stratford boy. Whoever wrote them had an aristocratic attitude.