I can't compete with the Michael Bays of the world in regard to special effects and that kind of stuff. But you can compete in the dialogue and the one liners and the original characterisations and I think that's what people are responding to.
Though miles may lie between us, we're never far apart, for friendship doesn't count the miles, it's measured by the heart.
Friendship is never forgettable in your whole life. It is always sweet like chocolate but never bitter like Neem.
You want it in one line? Does it have to fit in 80 columns?
I like playing characters that are complex, that are intriguing, that come from left field, that do things that are unexpected. I don't like people who just follow one line and that's it - that's why I could never be in a sitcom, I don't think. They're not intriguing enough for me.
You exist someplace else, and when you can contact yourself in that other place, when you can open up a kind of inter-dimensional phone line between yourself and our various selves, when you have become aware of that, that's when magic begins.
I did about 10-12 national commercials and then got one line parts in things like 'Curb Your Enthusiasm' and the show 'The Unit.' Got a little part in the movie 'Redbelt' by David Mamet and kept slowly grinding up and then started getting bigger parts in independents and getting noticed by Liz Meriwether.
The secret of many of my deformations - which many people do not understand - is that there is an interaction, an intereffect between the lines in a painting: one line attracts the other and at the point of maximum attraction the lines curve in toward the attracting point and form is altered.
Sometimes everything has to be inscribed across the heavens so you can find the one line already written inside you.
I am hoping that, with the added wisdom of old age, I can still look ahead for an improvement in tone, line, colour and composition.
An army must have but one line of operations. This must be maintained with care and abandoned only for major reasons.
I think that you can say something in one line with a look that you might need three lines on a page for normally.
Even one word, or certainly one sentence, should be able to describe the basic characteristic that the scene has, or the character has, or the story has. And then you begin to detail that one spine, and you have offshoots from that spine, and it becomes more and more complex, but all of it stems from that one-word, one-line theme, which can give the character, the scene, or the play its uniqueness.
Nowadays, one of the churches of Tlön maintains platonically that such and such a pain, such and such a greenish-yellow colour, such and such a temperature, such and such a sound, etc., make up the only reality there is. All men, in the climactic instant of coitus, are the same man. All men who repeat one line of Shakespeare are William Shakespeare.
Enough of satire; in less harden'd times Great was her force, and mighty were her rhymes. I've read of men, beyond man's daring brave, Who yet have trembled at the strokes she gave; Whose souls have felt more terrible alarms From her one line, than from a world in arms.
Jesus won't cut you off before you're through With him you won't never get a crossed line, And when your bill comes it'll all be properly itemised He's the telephone repairman on the switchboard of my life. The phone line to the saviour's always free of interference He's in at any hour, day or night And when you call J-E-S-U-S you always call toll-free He's the telephone repairman on the switchboard of my life.
If you're sounding right, you're probably walking right, and vice versa. If you get the footwork right - if you get even one line right in a rehearsal, the director will say, do you know when you said that, it was exactly the character. You were - really landed on it.
Even in motocross, youre struggling to see people pass each other anymore. There seems to be one line in motocross.
One line typed twenty years ago can be blazed on a wall in spraypaint to glorify art as detachment or torture of those we did not love but also did not want to kill.
That strange premature genius Chatterton has couched in one line the quintessence of what Voltaire has said in many pages: "Reason, a thorn in Revelation's side.
The two black lines on the armband means that they're the deceased's family. One line means they are either friends or acquaintances. One line of the arm, one line on the heart. The bastards who stood by my side with two lines, they'll be the hardest farewells I'll have to make in my life, and they're the luckiest fortune I've met in my lifetime.
One line of dialogue that rings true reveals character in a way that pages of description can't.
While American football is very structured and linear and static, where everyone lines up and there's a burst and it happens, soccer is like the cosmos. It's like constellations. It's bodies moving in space. It's a very spherical game. You can move in any direction, at any time.
The truth is that man is one individual with two aspects, just like one line with two ends. If you look at the ends, it is two. If you look at the line, it is one. One end of the line is limited, the other end of the line is unlimited. One end is man, the other end is God.
In my mind, I'm doing everything, but in reality, I'm doing very, very little. You come up with one idea, one moment, one line that leads to something and you feel like it's easy. And then, you sit back and think there would be no show without that.
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