Top 1200 Wrote Quotes & Sayings - Page 5

I wrote a lot about Cheney in 'The New Yorker,' but I wrote very little of what I know. The only time I ever mentioned what he ever said at a meeting was when there were many people there who were not insiders, you know, other people not in the government, so my sources would be protected.

I never even thought of myself as deadpan until someone wrote an article about me about a year after I was doing comedy. There was a paper called the 'Boston Phoenix,' and someone wrote a description of what I was doing and that's where I first saw 'deadpan.'

When I was 20, I wrote a film on spec and sent it to the BBC. They wrote back, 'Usually, when we reject submissions, we like to offer some encouragement, but in your case, we don't see any point in you continuing.' I took it as encouragement anyway, thinking that only people who write terrible things are capable of writing great things.

The song 'Wolf Eyes,' I wrote because I felt like I was such a kitten. I want to be more of a wolf. I want to be stronger and more independent. I sort of wrote the song for that.

2Pac wrote about life threatening situations after being shot so often, it made it seem like he was obsessed with it. He even wrote music and material that he left behind after he died that made reference to him dying already. I think the significance in that ties back to us knowing that that's our fate.

The closer you get to death, the more alive you feel. Dylan Thomas wrote, Do not go gentle into that good night. Rage, rage against the dying of the light. My dad always taught me to live like that. Dad wrote a poem too. It goes, Dune buggies. Woohoo!

Sometimes an idea from six years ago will come to me out of the blue. And maybe I haven't even seen the lyrics I wrote down, but I'll just have this physical memory of having written it, and in my mind I can see the piece of paper, and the words I wrote down, and then by muscle memory, I'll remember the chords that go along with it.

'After 17' is a song I wrote when my first daughter went to college, so that's kind of where I'm at in that part of my life. If you listen to that song and knew anything about me, you'd say, 'Oh yeah, he wrote that about his daughter,' but I try not to write them that they are so specific that they wouldn't apply to anybody that has a child.

The bulletproof vest--'bullet resistant,' technically--is made of two double panels of a synthetic material called Kevlar, inside a cloth carrier that holds it around your torso like a lead X-ray smock. One cop wrote phrases from the Bible on his, 'Yea, though I walk in the valley of the Shadow of Death...' Other cops wrote their blood type.

Well, I never got into the young adult headspace. With 'Twilight,' they are pretty adult themes, aside from maybe the first one, but even that. They're very adult themes, actually, particularly as the characters age. I never wrote for young adults. I wrote for myself, as an audience.

I was a cover artist for years. I didn't start writing songs until I was in my mid-twenties. I wrote them with John Leventhal, and they were pretty bad. I was in my late twenties when I wrote the first song with him that made any sense to me about what I was rooted in and what spoke for me as an artist. That was 'Diamond in the Rough.'

'Teenage Dream' was the most difficult song I've ever been a part of. We wrote five different versions of it. We couldn't get the lyrics right. Max Martin and Dr. Luke wrote most of the melody, and then Katy Perry and I were responsible for getting the lyrics right.

I figure I wrote 37 songs in 20 years, and that's not exactly a full-time job. It wasn't that I was writing and writing and writing and quit. Every now and then I wrote something, and every now and then I didn't. The second just outnumbered the first.

My mother wrote a teen column for the South China Morning Post in the 1950s when she was growing up in Hong Kong. Her name was Lily Mark, but she sometimes wrote under her confirmation name, Margaret Mark. That was how she met my father.

John Cassavetes wrote A Woman Under the Influence as a play. He said, "Hey, I wrote you a play." And I said, "Great, let's read it." I read it and I said, "John, I couldn't do this every night and twice on Wednesday and Saturday".

I wrote 'Jungle' in my bedroom when I was having a manic time with a particular girl. Everyone thinks it's this really upbeat song, but it's not; it was just a really manic time, so I wrote a song about it.

I wrote two poems about the 81 uprisings: Di Great Insohreckshan and Mekin Histri. I wrote those two poems from the perspective of those who had taken part in the Brixton riots. The tone of the poem is celebratory because I wanted to capture the mood of exhilaration felt by black people at the time.

I wrote myself back together. I wrote myself toward a stronger version of myself . . . Through writing and feminism, I also found that if I was a little bit brave, another woman might hear me and see me and recognize that none of us are the nothing the world tries to tell us we are.

I wrote "Miner's Prayer" after [grandfather] died. I'd gone back to his funeral, and he died in 1979. And I came back to California, and I think a couple of weeks after that funeral wrote that song thinking about him, his life.

I told all kinds of stories about going to Japan, about playing ball with my father... I wanted to record my life in case it was going to end soon. So, I wrote that and it was very comforting to have that practice in the afternoons in my living room. I just wrote about my life.

My mother painted and wrote. She always had a painting in progress on an easel in the kitchen, so our house always smelled like oil paint. At night, she wrote after she'd put my sisters and me to bed, and the sound of her typing was our lullaby.

I don't know what started me, I just wrote poetry from the time was quite small. I guess I liked nursery rhymes and I guess I thought I could do the same thing. I wrote my first poem, my first published poem, when I was eight-and-a-half years old. It came out in The Boston Traveller and from then on, I suppose, I've been a bit of a professional.

I wrote the book Don't Die, My Love as I was going through radiation, so it certainly has an air of authenticity about it because I was there. I think all of my books took on kind of a deeper tone when the lady who wrote about cancer all of a sudden had cancer. I'm doing well. I went through it all and they said, 'You're fine."

I wrote 'Mr. In-Between' very quickly when I was about 23. I wrote the penultimate chapter, then realised I'd done something which was written to the best of my abilities. I panicked. I hesitated to finish the final chapter and went into withdrawal for three years. I decided to pick it up again after I went drinking with author Tim Binding.

I majored in extracurriculars, honestly. I joined the Harvard Stand Up Comedy Society, which is a ragtag band of misfits. I wrote for 'On Harvard Time,' which was a student TV show trying to be 'The Daily Show.' And I wrote a humor column for 'The Crimson' starting my sophomore year.

I want my thoughts to be an incentive for the reader to give his or her own thoughts. After I wrote 'Proust and the Squid,' I received truly hundreds of letters - I'm still receiving them - and the letters that I wrote back helped me formulate my thinking around things I know are important to others.

I think when I was 7, at school they got us all to write the story of Joseph and his brothers. I got a bit carried away and wrote 12 pages - everybody else wrote a page. The teacher was so impressed by it that she put it up on the wall for parents' evening. I thought, 'Oh, this is something that I really like that I also seem to be quite good at.'

Don't add people to your subscriber list just because they once wrote you a note. Or once answered a note you wrote to them. Don't put your address book into your newsletter database. Let your readers sign up.

Rob Horton, the main character of The Tiger Rising, was a secondary character in an adult short story I wrote, and he wouldn't go away after I'd finished the short story. I couldn't figure out what he wanted, so I wrote to find out.

In his youth, Wordsworth sympathized with the French Revolution, went to France, wrote good poetry and had a natural daughter. At this period, he was a bad man. Then he became good, abandoned his daughter, adopted correct principles and wrote bad poetry.

There was no actually stock footage in "Medium Cool." I wrote the script. I wrote the riots. And I integrated the actors in the film in the park during the demonstrations. But nowhere was it like we had stock footage and then later, in editing, integrated it into the film. It was all done at the time.

[Adrienne Shelly] explain exactly what she was looking for. This was her movie [Waitress].She also wrote the songs that I sing in it. She wrote everything. She chose the colour of our outfits; she designed the set of the diner. She was very, very involved at every level.

I had a dream, in 1985, I believe, when a friend I'd gone to school with was sick - one of the first people I knew who'd gotten the AIDS virus. I had a dream of him in his bedroom with an angel crashing through the ceiling. I wrote a poem called 'Angels in America.' I've never looked at the poem since the day I wrote it.

I made a movie when I was 15 years old with all my friends. This is when IMDb was a little more lax with its proceedings, so it's listed as one of my projects. I was 15 years old; it's a terrible movie. I wrote 50 percent of it because I wanted to kiss this one girl, and I wrote a kissing scene for it.

Today is the anniversary of the Gettysburg Address. President Lincoln wrote it on his way to the site of the speech on the back of an envelope. One guy on the back of an envelope wrote the great Gettysburg Address - while every night it takes six guys to write this crap!

As a teenager, I read a lot of H.P. Lovecraft, so I wrote like H.P. Lovecraft. And in my 20s, I read a lot of Ross Macdonald and Raymond Chandler, so I wrote like those guys. But, little by little, you develop your own style.

She was witchy, yes, and in charge of a cauldron roiling with ideas and stories, but she always gave the impression that the stories, the ones she wrote and wrote so very well and so wisely, had simply happened, and that all she had done was to hold the pen. (On Diana Wynne Jones)

You know, I've always wrote my best stuff when it takes me hardly any time at all. Actually I wrote.....this is actually a really funny story...'Ghost Of Vincent Price', I've been wanting to write a song about Vincent Price coz he's one of my favorite characters of all time.

At the end of the tour last year, I was completely fried. I felt my soul was begging me to give it a release. Two long trips to Costa Rica and to Iceland I've made were the best things I could have ever done for myself and you see it with the songs I wrote before I left and the songs I wrote after - there are two different Kips in there.

Writing was always a laborious thing for me. I never wrote fluently, I never wrote fluidly, there was something very awkward in my writing. But it seemed to me purposely awkward. It's almost as if I made the labor part of writing.

'Unbreakable Smile' was based off one of the songs I wrote for the album - it was actually the first song I wrote for the album without realizing it yet. I think I wanted to name the album that because it seemed like that was just the theme of that chapter in my life and just the theme of all the songs put together.

For the first few years I wrote jokes and performed them word for word and then wrote tags for them and did that word for word and that worked pretty well. Now, I do almost all of my writing on stage and then record and listen for any new things and then I write those down.

Every time I put a collection together I'd scrap it because there was no "meaning," until I wrote about the two black men - friends - in the beginning of the book. So much of their experience was ABOUT trying to find friends in the authors/artists I wrote about - subjects that were/are a source of comfort, somehow, since none of them "fit," either

In the helter-skelter of this book, I didn't develop my views as theory. In fact, I even believe that efforts of that kind are tainted with ponderousness. Nietzsche wrote "with his blood," and criticizing, or, better, experiencing him means pouring out one's lifeblood. It was only with my life that I wrote the Nietzsche book that I had planned.

Reagan wrote out many of his radio commentaries and newspaper articles as well as many of his own speeches. He wrote poetry, short stories, and letters. Trump, in his own hand, writes 140-character tweets.

"After 17" is a song I wrote when my first daughter went to college, so that's kind of where I'm at in that part of my life. If you listen to that song and knew anything about me, you'd say, "Oh yeah, he wrote that about his daughter," but I try not to write them that they are so specific that they wouldn't apply to anybody that has a child.

I also tried to focus on songs that Billie Holiday wrote, songs that she had a hand in shaping, like "Strange Fruit"; songs that were written for her or songs that she wrote herself, like "Fine and Mellow" or "God Bless The Child."

I wrote two poems about the '81 uprisings: 'Di Great Insohreckshan' and 'Mekin Histri.' I wrote those two poems from the perspective of those who had taken part in the Brixton riots. The tone of the poem is celebratory because I wanted to capture the mood of exhilaration felt by black people at the time.

That certain snobbery of certainly the Parisian - combined with a complete denial of your historical legacy, is just awful. That's a funny thing about France. Saul Bellow wrote somewhere that he saw right through the French. He lived there. He wrote The Adventures of Augie March in Paris, and there's no one better than him to say what's unbearable about the French.

All we know about Jesus is what someone else wrote down... so really one should say, "Here is what someone wrote down that they said Jesus said..." this isn't uncertainty on purpose, just plain speaking.

Jefferson wrote the Declaration of Independence; Madison wrote not only the United States Constitution, or at least most of it, but also the most searching commentary on it that has ever appeared. Each of them served as president of the United States for eight years. What they had to say to each other has to command attention.

I don't really have a writing process. I don't write at all but, honestly, I feel like it's a modern-day writing because everything is technology and if I go in there and freestyle and I keep it, I feel like I wrote that. If I go in there and fix it, it's almost like something I wrote.

Suzanne [Collins] was very involved in the development of the script. She wrote the first draft. She was very involved with Billy Ray, when he wrote his draft.

I just always wrote songs as a side hobby. So it was sort of a natural thing to write comedy songs. But when I started writing songs, I wrote very serious songs. Or things that a 13-14 year-old would think are very serious issues.

It shouldn't be a Higgs field. If it's anybody's, it should be Goldstone field, I think. When Nambu wrote his short paper in 1960, Jeffrey Goldstone of Cambridge University, who was visiting Cern, heard about it. He then wrote a paper which was conceptually similar to what Nambu had done, but a simpler model.

The first person that I ever heard sing a song I wrote was Jason Derulo. I was in the studio when he was doing it, and I mean, I've heard that guy's voice my whole life. When he was singing words I wrote, I started kind of choking up, but I tried to be all manly and puff my chest up and be all, 'Yeah, it's not a big deal.'

I don't really know the person who wrote the things I wrote. I kind of know him, but I change so much all the time that it's like I start fresh over and over and over and over. Writing-wise and life-wise.

I used to write my own versions of famous tales, such as William Tell or Robin Hood, and illustrate them myself, too. When I entered my teens, I got more into horror and science fiction and wrote a lot of short stories. A literary education complicated things and for many years I wrote nothing but poetry. Then I got back to story-telling.

It was a roller-coaster process. For a long time I had no idea what I was doing. I wasn't writing with an outline. And, rare for me, I wrote scenes out of sequence. . . . I didn't understand the play when I wrote it. It was something I'd give in to. It happens to me periodically. I give over and write whatever comes to me and I don't know what it means and then I do. It's thrilling.

In the ordinary jumble of my literary drawer, I sometimes find texts I wrote ten, fifteen, or even more years ago. And many of them seem to me written by a stranger: I simply do not recognize myself in them. There was a person who wrote them, and it was I. I experienced them, but it was in another life, from which I just woke up, as if from someone else's dream.