My father would read me Page Six instead of, like, kids’ stories.
I like to communicate on my Instagram page with people: use it as a window to my world.
I’m constantly claimed by atheists. I find this intriguing. In fact, on my Wiki page – I didn’t create the Wiki page, others did, and I’m flattered that people cared enough about my life to assemble it – and it said, ‘Neil deGrasse is an atheist.’
I don’t have a Facebook page because I have little interest in hearing myself talk about myself any further than I already do in interviews or putting any more about myself online than there already is.
I know how long it takes me to draw a page, how long it takes me to complete a project, how long I can work before my hand gives out, that sort of thing.
If you look closely, there is no book more visual than Three Trapped Tigers, in that it is filled with blank pages, dark pages, it has stars made of words, the famous magical cube made of numbers, and there is even a page which is a mirror.
I want the reader to turn the page and keep on turning until the end.
People might be surprised to know how much I throw away. For every page I publish, I throw 10 pages away.
I rewrite a lot until I get the rhythm and story right on the page.
Yeah, in my scripts, I don’t tend to describe landscape too clearly because I like to keep it really basic and sort of let people paint their own picture. I don’t find it helpful to spend a page describing a setting, except for maybe a few key things.
I’m trying to grow. I don’t want to stay on the same page.
I remember a picture on the front page of the ‘Sun’ during the Brixton riots: a rasta guy with a petrol bomb, and a headline saying something like: ‘The Future of Britain.’ And I thought: ‘Wow! Look at the power of that image,’ and I wanted to get behind the camera to make these people three-dimensional.
I was the one who took football off the back pages and put it on to page one.
I think when you go to a store and you go to the Justin Timberlake page and stream it from there, that’s great, but that means you went to the store. iTunes Radio lets you discover it without you having to think about it.
In fact I have a full page warning, right in the front of the book, that no one under the age of eighteen should read this book and no one should even turn the pages if they are sexually conservative or erotically deprived.
It’s very difficult to think that you’re with someone that you know, and all of a sudden you don’t know them: it turns out that they betray you. It’s painful, but it’s best to turn the page.
Whatever is on the page is what I’m married to. I’m very prepared. I’m a thespian. I don’t like to improv. I don’t like to go off course ’cause I think that’s where stuff happens. When you stick to the material ’cause it’s written so well, that’s where the magic happens.
I like commas. I detest semi-colons – I don’t think they belong in a story. And I gave up quotation marks long ago. I found I didn’t need them, they were fly-specks on the page.
You always want to be on top of the playbook. You always want to be refreshed with the plays, make sure you’re on the same page with everyone else.
Sometimes in news photography and so on, the pictures are a little bit dry, and put on the page and just set in a journalistic way in front of you.
Ensure that your script is watertight. If it’s not on the page, it will never magically appear on the screen.
When I write a book, I write very cleanly from page one to the last page. I hardly ever write out of sequence.
There’s a point I set for myself, and it’s an arbitrary point, when I think no matter happens, I’m going to finish that book. And that’s when I get to page 100. I have to see it out.
The relationship with the words someone uses is more intimate and integrated than just a quick read and a blurb can ever be. This intimacy – the words on the page being sent back and forth from engaged editor to open author – is unique in my experience.
I think there are things that digital can’t do as well as print thus far. Even an iPad is only 80% the size of a standard comics page, so the images are going to be smaller. You don’t get your big, whopping two-page spreads.
What helps writers, and ultimately, obviously, helps the actors – who should serve the words that the writer puts on the page – is if the character has damages, because then the writers can cultivate and excavate, like a dentist going into a tooth.
If I have the power to post ‘Happy Birthday’ on someone’s Facebook page and make them feel really good, it feels really good to make other people feel really good. I love it. I’m a huge Facebook and Twitter person. And I love talking to my fans. It’s fun.
I just feel I’m on a different page from the reviewers, so I’ve learned not to care about them too much.
When I was in college, I was the editor of the literary magazine and insisted neither the editors nor the writers be specifically identified-only our student numbers appeared on the title page. I love that idea and still do.
That straight man character is a short trip between comedy and drama in a project, so I can play the comedic beat on the same page as a dramatic beat. It gives me a lot of freedom as an actor to play scenes in multiple ways because I don’t play the clown, nor do I play someone who is particularly maudlin.
Stage is the place of the playwright: you’re guided by great actors and directors, but it’s the playwright’s word on the page that counts.
CNN has given me a platform to share my experiences. My Web site, YouTube Channel and Facebook page have exposed me to thousands of voters who share my concerns. My lack of seniority has not impeded my ability to communicate in any way.
If you don’t have an E-mail address, you’re in the Netherworld. If you don’t have your own World Wide Web page, you’re a nobody.
You’ve got to acknowledge what you did wrong and see if you can fix it to the extent possible, and turn the page.
I’d always envied actors who got to play real people or got to do research. I’ve always just had these scripts where, I mean not in a bad way, but it was right on the page.
I’ve always thought that one of the least successful encounters is meeting a writer one admires. For one thing, writers are generally much kinder, more empathetic, more generous people on the page than they are in person.
It may sound very strange, but I love the freedom that writing a novel gives me. It is an unhindered experience. If I come after a bad day, I can decide that my protagonist will die on page 100 of my novel in a 350-page story.
If I had been asked to write 1,200 words for a newspaper tomorrow, on any subject, I would just do it rather than leave a white hole in the page. And I think it’s a very healthy attitude to take to writing anything.
Growing up as a kid, in elementary and middle school, I was always getting in trouble. Always getting suspended. I got suspended for 90 days for fighting beginning my freshman year, so I missed Homecoming, and that’s when I turned the page. I went on honor roll and had good grades after that. It was the changing point.
We all have our likes and our dislikes. But… when we’re doing news – when we’re doing the front-page news, not the back page, not the op-ed pages, but when we’re doing the daily news, covering politics – it is our duty to be sure that we do not permit our prejudices to show. That is simply basic journalism.
Once you’re directing, you’re kind of in a certain mode, where you’re taking whatever is on the page and forming it into the film that you think it might want to be. So whether it’s my writing or not, I still try to work with it in the same way.
I believe in international justice. I believe it’s important that you don’t just turn the page without people being held to account.
I think I became a writer because I used to write letters to my friends, and I used to love writing them. I loved the idea that you can put marks on a page and send it off, and two days later, someone laughs somewhere else in the world.
Once we truly grasp the message of the ‘New Testament’, it is impossible to read the ‘Old Testament’ again without seeing Christ on every page, in every story, foreshadowed or anticipated in every event and narrative.
I hate SF books that think all you need to make a book is cool technology and mind-bending ideas without a decent plot or characters. And I hate when fantasy books are allowed to ramble off into five hundred page diatribes which don’t advance the story one bit.
I still get up every morning at 4 A.M. I write seven days a week, including Christmas. And I still face a blank page every morning, and my characters don’t really care how many books I’ve sold.
People were always able to look at Bettie Page and see what they needed her to be and she gave them that permission to do so. So in that way she’s a feminist but I don’t think she was ever trying to be.
When a novel has 200,000 words, then it is possible for the reader to experience 200,000 delights, and to turn back to the first page of the book and experience them all over again, perhaps more intensely.
It’s difficult to write a book where a character is on virtually every page of the book but you cannot refer to his or her gender. It gets rid of every his, her, she and he.
You can tell if you’re going to be into a script within the first five or ten pages – if I’m not completely engaged by page 20, I just have to give up on it.
