Caprice Crane (Caprice A. Crane) Quotes
People often say that writing is ten percent inspiration and ninety percent perspiration. This is nonsense, of course. It's pretty much one hundred percent caffeine.
Quotes to Explore
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It's interesting that one of the definitions of the word 'human' is 'sympathetic.' More and more people are beginning to show that they understand why that is important.
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Certainly there are things in life that money can't buy, but it's very funny - Did you ever try buying them without money?
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If you want to cultivate a habit, do it without any reservation, till it is firmly established. Until it is so confirmed, until it becomes a part of your character, let there be no exception, no relaxation of effort.
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Our built-in human system for mimicry explains why we humans can transfer our good and bad moods to each other - if we aren't careful!
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The bad reviews get to me, believe me.
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I like it when I am in the middle; I am closer to the ball. The manager wants me to pass, to make assists, create chances, and I do more because I think the position is more central, and I don't ask all the time for the ball at my feet.
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My heart is in independent film-making. For me, it's where the fun, gritty storytelling is being told.
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Especially on unexpected journeys, you have time; you can figure certain deeper things out, like who you are and what you want. That's why I enjoy journeys.
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There was no difference between my characters and the life my readers were going to have to face.
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I always laugh a lot when I see the dramas that I end up doing. I see myself behaving very seriously and I'm like, 'What is this?'
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You can't impose a legacy.
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All of a sudden, if you think about the entire ecosystem of connected devices that can pull down information, access content and allow me to share and work and communicate, the vast majority now are not Windows computers. They are iPhones. They are iPads. They are Android devices.
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The one sound I think of when I think about dreaming is the harp glissando, which is this really atmospheric run up and down the scale that's really dreamy.
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I think Jane Austen builds suspense well in a couple of places, but she squanders it, and she gets to the endgame too quickly. So I will be working on those things.
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Usually the characters I play are men of few words, who communicate in non-verbal ways.
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I think that, ultimately, there are so many characters in G.I. Joe that even all the iterations - the comics and the different cartoons and everything - have been a big ensemble. Lots of crossing storylines and stuff.
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I'm mad for satin.
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I marshalled the words and opened my mouth, thinking I would hear them. But all I heard was a kind of rattle, unintelligible even to me who knew what was intended.
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We've all seen 'Jewing it up' performances. They are about as miserable to watch as as 'camping it up' performances when representing gays.
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We've got to fight against bigness. If a school gets too large, you lose an intimacy with the students; they begin to feel they're just part of a big complex. I don't think you can create too well in a big plant. That's why I always tried to avoid bigness in the studio.
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My parents called me the WB frog. Because when I was onstage, I would do this whole song and dance, but if my parents had a family friend over, I would just go hide in the bedroom.
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I've written songs before, and I don't want to share them with anybody. It's really personal for me, that sort of creative outlet where you put your emotions to paper or put to song. I don't do it that much anymore, but to let someone in on that outlet and to have it susceptible to judgment is scary.
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It took a lot of people to keep it rolling for 40 years, and I'm just glad it's still here to go. I hope it goes for another 40 years.
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People often say that writing is ten percent inspiration and ninety percent perspiration. This is nonsense, of course. It's pretty much one hundred percent caffeine.
