Quotes on Something

People respond to something which intrigues them instead of something that gives them all the information - particularly in pop, which is, like, the genre for knowing way too much about everyone and everything.

My mother and father taught me about black excellence and dynasty. They experienced racism personally, and when something like that happens to you and not around you, you develop a different perception than someone who has never experienced racism a day in their lives.

It is a distortion, with something profoundly disloyal about it, to picture the human being as a teetering, fallible contraption, always needing watching and patching, always on the verge of flapping to pieces.

Spock is definitely one of my best friends. When I put on those ears, it's not like just another day. When I become Spock, that day becomes something special.

I think what happens to young writers is that they use up every life experience that they have had up to that point for their first novel. Then you have to come up with something for the second novel, but you really don't have anything to say.

When you have a stroke, you must talk slowly to be understood, and I've discovered that when I talk slowly, people listen. They think I'm going to say something important!

There's something about the kind of time travel that a poem can provide. It can take you to somewhere else - a culture far from you, a language far from you, but suddenly you're there. You're that person, seeing with that person's eyes. I think that's really tremendous. Even things like cinema or more traditional history can't quite do that.

My work is not about paint. It's about paint at the service of something else. It is not about gooey, chest-beating, macho '50s abstraction that allows paint to sit up on the surface as subject matter about paint.

I was excited at something new, always liked something new, but give credit to everybody who helped. I didn't do anything alone but try to go to the root of the question and succeeded there.

When I wrote my fictional novels, they always had a starting point of something real. Those images that are not real are exactly the same strength and power of the real ones, and the line between them is completely blurred.

Do something because you really want to do it. If you're doing it just for the goal and don't enjoy the path, then I think you're cheating yourself.

When we put the pen to paper, we articulate things in our life that we may have felt vague about. Before you write about something, somebody says, 'How do you feel?' and you say, 'Oh, I feel okay.' Then you write about it, and you discover you don't feel okay.

That this individual life of all of us is not something limited in its temporal expression to the life that now we experience, follows from the very fact that here nothing final or individual is found expressed.

To be able to have winning in your blood growing up, whether it was pounding my little brother or trying to beat my dad in something, or just competing on teams with my friends, it was nonstop.

I'm obsessed with giving the audience something they don't see coming.

Novelists lie for a living - what is a novel, after all, but an assembly of fibs paradoxically meant to illustrate something true? - but generally see a distinction between lying on the page and lying off it.

We won't do something different for different's sake. Designers cave in to marketing, to the corporate agenda, which is sort of, 'Oh, it looks like the last one; can't we make it look different?' Well no, there's no reason to.

We won't be different for different's sake. Different is easy... make it pink and fluffy! Better is harder. Making something different often has a marketing and corporate agenda.

I think a lot about how ideas spread, how information spreads, why is it that something you're really proud of and you spend a lot of time creating sometimes doesn't go anywhere, and something that you kind of do on the side, on a lark, ends up getting shared and passed around and having this big impact.

Most people think that to meditate, I should feel a particular special something, and if I don't, then I must be doing something wrong.

By wrecking something, it's always reinventing. All modern movements in art and music wrecked what came before, in a way - and surprised the cooler generation that was one step ahead. That's how you get ahead.