Lewis H. Lapham Quotes
Youth as glimpsed by its elders is a story that comes from afar, showing itself as either lovely to look at or a torment to endure.
Quotes to Explore
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All of my problems are rather complicated - I need an entire novel to deal with them, not a short story or a movie. It's like a personal therapy.
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A story never looks as good as when the other fellow buys it.
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When I watch cop shows, I really enjoy them because you can really follow the story and get involved, and the characters are always really interesting.
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I think how Chicago plays a role in my life - it had such a role in my youth and the decisions that I made as a kid and formulated who I am as an artist early on.
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90%, 100% are going there to hear the singing. The story is another thing. Nobody's interested in the story. Happiness is happiness.
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Sometimes the kids come up with better endings than the real story.
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This basic thing I always do: 'What happened between the character's birth, and page one of the script?' Anything that's not in the story, I'll fill in the blanks.
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I know feeling pressure gets you nowhere creatively. You've just got to understand the character, understand the story, and just play it to the fullest extent.
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I was also the romantic lead in The Boston Strangler - I was the only one that lived to tell the story - so I called myself the romantic lead.
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I think I don't sing as hard as I used to sing. I used to kind of hit the accelerator a lot back in my youth, but now it's just being able to control it, and not work it so hard and use more of an emotional or sub textual kind of approach to singing.
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It's really a sad story, and I liked that. The songs on this album talk about relationships in every aspect.
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When 5150 came out rock was king. Post Nirvana and Pearl Jam 1996 is a different story.
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There really isn't a story that you can't tell inside of it. It's very much a clearinghouse for anything that goes on in the world. So you're not at all limited.
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After all, life hasn't much to offer except youth, and I suppose for older people, the love of youth in others.
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As a writer, I had learned a lot on 'Margin Call' about embracing the weaknesses of a narrative and of a project. A story always has an inherent narrative weakness.
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Genes are like the story, and DNA is the language that the story is written in.
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Reading a Lydia Davis story collection is like reaching into what you think is a bag of potato chips and pulling out something else entirely: a gherkin, a pepper corn, a truffle, a piece of beef jerky.
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My books are character-driven. They're not driven by the story.
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The heroic hours of life do not announce their presence by drum and trumpet, challenging us to be true to ourselves by appeals to the martial spirit that keeps the blood at heat. Some little, unassuming, unobtrusive choice presents itself before us slyly and craftily, glib and insinuating, in the modest garb of innocence. . . . Then it is that you will be summoned to show the courage of adventurous youth.
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When I was 13, I looked like I could play 16, and I wasn't mature enough to play 16.
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If I had criteria, it would just be that I want to play active people who can solve problems, not people who have things thrust in their lap and need somebody to solve their problems for them.
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A multitude is strong while it holds together, but so soon as each of those who compose it begins ro think of his own private danger, it becomes weak and contemptible.
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Youth as glimpsed by its elders is a story that comes from afar, showing itself as either lovely to look at or a torment to endure.
