August Wilson Quotes
I don't write for a particular audience. I work as an artist, and I think the audience of one, which is the self, and I have to satisfy myself as an artist. So I always say that I write for the same people that Picasso painted for. I think he painted for himself.
Quotes to Explore
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'Frontline' started doing digital content in 1995. We started streaming our films in 2000.
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I began both auditioning with Pearl Jam and recording for Eleven. In the fall of 1994, I joined Pearl Jam.
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I don't think nostalgia has to be negative.
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Soon I knew the craft of experimental physics was beyond me - it was the sublime quality of patience - patience in accumulating data, patience with recalcitrant equipment - which I sadly lacked.
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To be one's self, and unafraid whether right or wrong, is more admirable than the easy cowardice of surrender to conformity.
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We did a remake of Lost in Space. Filmed it in London for four months.
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Ancient Egyptians went to great lengths to avoid change; they couldn't entirely do so, of course, but did preserve a cultural continuity for almost four thousand years.
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Karaoke is something that's near and dear and very close to my heart. I was a karaoke host when I was working my way through university. I was a full-time student and karaoke was my night job.
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Tyrannies not only want to control your mind and thoughts but your flesh as well.
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For me, it's actually really hard to write about my real experience. Like to do a Taylor Swift. You know what I mean? It's so brave to actually write about things that happened and things you wanna get off your chest, but I'm not really there yet.
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I think women are really good at making friends and not good at networking. Men are good at networking and not necessarily making friends. That's a gross generalization, but I think it holds in many ways.
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I've never managed to keep a journal longer than two weeks.
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I believe that stories find writers, writers don't find stories. With the 'Pendragon' series, I actually had multiple story ideas and decided that instead of writing them individually, I would create a character whose journey would thread them all together.
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That's what I like to do, I like to make songs.
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My hope that Thatcher would inadvertently bring about a new political revolution was well and truly bogus. All that sprang out of Thatcherism were extreme financialisation, the triumph of the shopping mall over the corner store, the fetishisation of housing and Tony Blair.
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I want to keep a thread between the studio and the stage, and I want to flow more easily from one to the other.
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The very idea of carrying my memory into eternity devastated me, and I took refuge in atheism.
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In England we have come to rely upon a comfortable time-lag of fifty years or a century intervening between the perception that something ought to be done and a serious attempt to do it.
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Imagine a country where the vast majority of seniors live in poverty, a country where for many there are no golden years, but a time of struggle and dependence. That was the United States before the creation of Social Security, which has proven to be one of the most effective and important government programs in our history.
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In my judgment the people of no nation can lose their liberty so long as a Bill of Rights like ours survives and its basic purposes are conscientiously interpreted, enforced and respected so as to afford continuous protection against old, as well as new, devices and practices which might thwart those purposes. I fear to see the consequences of the Court's practice of substituting its own concepts of decency and fundamental justice for the language of the Bill of Rights as its point of departure in interpreting and enforcing that Bill of Rights.
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It is possible for a kid from east Texas, raised in south central LA and Carson, who believes in his dreams, commits himself to them with his heart, to touch them and to have them happen.
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When I travel, I make certain that I spend at least half of my time in the field. You have to get out to meet people that are in poverty, that are looking to improve their lives. That's something that you can't read in books.
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You don't want to be a gimmick. You don't want to be a set piece, where people go, 'Hey, that's weird.'
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I don't write for a particular audience. I work as an artist, and I think the audience of one, which is the self, and I have to satisfy myself as an artist. So I always say that I write for the same people that Picasso painted for. I think he painted for himself.
