I like playing with a popular cliché and making it my own by half-embracing it, half-disemboweling it.
The lessons learned in journalism also apply. Writing for NPR has taught me to cut a piece in half and then in half again - without losing the essence. Apply that to the swollen prose of a bulky novel and you might reveal a beautiful work.
You cant prevent undernourishment so easily, but famines you can stop with half an effort. Then the question was why dont the governments stop them?
In dire times of survival it's not uncommon for people to turn to their faith and that was also true for the men on the oil tanker Pendleton, which was cut in half by 60-foot waves during the hurricane.
Dealing with all the questions once the book is out and unchangeable, forces you to permanently give opinions about - in this case - sensible, challenging topics that you are basically only half the expert you would have to be if you wanted to explain yourself in a trustworthy, intelligent and helpful manner.
I never really liked "cool" books. I plowed through as much Borges and Joyce as possible, read the first half of V. and spent whole Bar Mitzvah checks on Beat poetry.
I have pit bulls barking at me on half of the love songs.
I remember that my sisters gave me this beautiful, like, empty book for Christmas. And I would draw all these beautiful women. Most of the time it was mermaids and a Minotaur: half human, half animal. I used to be obsessed with Minotaurs when I was a child.
I've always been obsessed with things that are half animal and half human - like mermaids and Minotaurs - because they are trapped in an animal body. And I felt trapped in my own life.
I spend the first half of my day dealing with Europe because of the time difference. Then in the evening my website gets my undivided attention.
I do believe that the collapse of the traditional media is catastrophic for our democracy, but I wasn't about to mythologize it. I understand its structural flaws, and the lies it tells, which are primarily, but not always, the lies of omission, and I wasn't going to leave that out. Knopf offered to publish the book but they said that an editor was going to "take out all the negativity," which, of course, I wasn't going to accept. I had been paid half my advance, and I had Nation Books buy the manuscript for that half.
I still to this day maintain that in that million-and-a-half feet of film [Heaven's Gate] that we shot, we thought we were making a great American film. I honestly believe that Michael [Cimino] was under a tremendous amount of pressure, and Michael's response to pressure from what I saw was to double down and to get more aggressive and to get more kind of arrogant, but I don't think it was real. I think it was the response to pressure.
In Vienna, when I was a year-and-a-half or two years-old. I remember it because I remember the little blue raincoat I used to wear, and how the buttons felt. I liked to walk on the street in front of our house when it was raining, and jump into all the puddles. That's weird, but that's my earliest memory.
So, it just seemed like it happened naturally. We nailed our live show to some extent in a year or about a year and a half, maybe just a year of playing songs pretty much around L.A. then we went and scheduled a mini-tour up-state on the West Coast and that's when the whole Rough Trade [Records] thing started happening and from there, things just happened so quick. It changed really quickly.
It's not like you get up in the morning on the first day of shooting and say, 'I'm so smart today I'm going to determine every choice I make from now until a year and a half from now.' So it changes. You gain insights. The movie bucks you.
I had just had a daughter, who was three or three-and-half years old, and I had been watching nothing but cartoons. That's really it. There was no YouTube. You're in France and you're raising a kid, so you break out the Tex Avery.
I started acting when I was 13, but it really wasn't my plan. The actual decision to become an actor was when I was 17, after I didn't act for half a year because I came to an exchange student program in the US, and I realized how much I missed it.
You hear this story that we're all on the left, but when there's a demonstration, you count how many actors actually come out. If there's a half dozen, that would be a big day.
I trained three or four days a week for two and a half months, before they'd even let me near the real dress. And I destroyed two practice dresses completely. They were just ripped to shreds. They looked like cats had gotten a hold of them.
Jason Rezaian is coming home. A courageous journalist for The Washington Post who wrote about the daily lives and hopes of the Iranian people, he's been held for a year and a half. He embodies the brave spirit that gives life to the freedom of the press. Jason has already been reunited with his wife and mom.
Pastor Saeed Abedini is coming home. Held for three and a half years, his unyielding faith has inspired people around the world in the global fight to uphold freedom of religion. Now Pastor Abedini will return to his church and community in Idaho.
Jason Rezaian is finally headed home. He's the correspondent for The Washington Post who was held in Iran for a year and half while U.S. diplomats, his family and his editors worked to win his release. Rezaian was one of the four Americans released from prison in Tehran in a swap for seven Iranians held in U.S. prisons.
Well, here you had a city that was selling more cars than ever before, that had this wondrous music being created, that was so vital to the labor and civil rights of this country, and yet it was dying and didn't see it, except for some sociologist at Wayne State University who predicted that Detroit was losing population by a half-million by the end of that '60s decade, and that that trend would continue taking away its tax base.
Well I've made no secret of my life long love of MAD Magazine, it's probably my first and greatest influence in terms of my comic sensibilities. I've known John [Ficarra] for many years, and we've been friends. About four or five months ago, at a dinner in New York, John made the very nice offer of my being guest editor for an issue of MAD and I thought about it for about half a nanosecond and decided that was a pretty good idea.
Of course, Texas is so huge it really is empty places; people can easily drive an hour and a half to work every day, so even if they're actually living in the suburbs, it sure feels as if they're in a remote location.
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