Life will be simpler when I don't spend two-thirds of the year in the middle of the Pacific.
Knowing about comedy has helped me with the drama. To see people laugh, it's like there are moments of catharsis in the middle of sadness.
A problem that I have with everything fictional is that writers are always having to come up with sudden artillery explosions in the middle of whatever is going on. The characters are having interesting, subtle interactions, or jealousies, or whatever it is, and suddenly some gigantic angry eruption has to happen, a giant gasp where everyone has to scramble around. That's the point where I'm turned off. I want the dynamic range to be a little smaller. I don't like the big false bangs.
When you're dressed up as David Bowie, with your eyebrows completely bleached, and you're doing this kind of strange dance with Paul McCartney while singing "Rebel Rebel" in the middle of the Met ball, and Madonna's looking at you . . . I was just thinking, It's become a bit weird.
All the best movies are the ones that are cut from a more middle ground.
I guess my voice kind of changed in middle school. It was what it is now. I remember there was this boy who used to walk behind me and sing that song that goes, "Walk like a man, talk like a man" and I was devastated. So I learned that I can pick up my voice if I want to.
You can't change your life. This mode in literature goes against the more middle-brown mode, which is about shaping your destiny, changing it. You can't change it, you just become passive in front of it. Even if we live in a godless universe, there are paths set, there are trajectories, like bumper cars just pulling those trajectories, colliding.
The torches ran off, and I found myself in a forest, at night, without any light, on skis, and that was not fun - particularly because I was drunk. Luckily at some point I started to see the light of the ski lift. To be in the forest in the middle of the night, it's terrible.
Most established novelists are writing books informed by experiences gained in their youth. Middle age is not the best time to be changing smartphones every six months or adopting new technology platforms - because we tend to get slower and less accommodating to change as we age.
On the downside, to paraphrase Thom Yorke talking about the music business, we're still having to deal with the stench of the last fart of the dying corpse of this regressive vision that America is a white, middle-aged, male, conservative country.
I definitely have a kind of Stockholm Syndrome for superhero movies because it's very clear that's the era we're in. It's like Christianity in the Middle Ages.
You can't plan your character arc - you have a vague idea, maybe, but I'm constantly surprised. Sometimes actors in films will play the ending of the movie, or even the middle, and you know where it's going - as an audience member you can read the actor.
There's so many modern films where the fans take one side or the other. I'm hoping this isn't going to be like that; I'm hoping it isn't that kind of film at all. What I would love for the audience to take from it is to understand why she was so stuck in the middle and confused.
I see a film as a puzzle, with a beginning, middle, and end, but I like to start at the end sometimes.
One thing I definitely experienced up here (New York), that maybe I have to sort of cop to feeling defensive about, is since the election, people in my cohort, who are sensitive to portrayals of people in the movie as classist, have had no problem coming up with those sorts of [middle-American] stereotypes about a phantom real person they can blame for re-electing George Bush.
The overtime threshold is to the middle class as the minimum wage is to low-wage workers.
I remember going foraging for breakfast in St. Louis once. I saw this one girl sitting in front of the venue, and she made this pink T-shirt with a big heart in the middle of it and a misty picture of our guitarist Mark [Potter]. She was so embarrassed when she saw me. And I was trying desperately not to laugh.
That isn't to say that Hawaii's better. On the mainland, everyone seems to be trying to get somewhere. Kids are taught to shoot for the moon, to believe in their ability to do anything, to follow their passions. In Hawaii, you're stuck in the middle of the Pacific, and it can be difficult to see how you're going to follow your passion from there.
I think traditional is trying to go more digital and digital is trying to go more traditional. We're meeting in the middle.
I'd say that the middle stanza is closer: that's the place where the poem ranges unexpectedly into a different realm.
I was never either pro-culture or counter-culture. I was in a kind of middle state.
Everything that happens to us can be looked at as a gift. Although it's quite difficult when you're in the middle of a hard struggle with something, it's hard to see it as a gift, but in retrospect, we can almost always look back and say, "Oh, I see why I had to go through that."
I spend a lot of time just listening to the ospreys. I watch them go through their life cycle. They spend the winter in South America. The mother and father osprey stay together. It's a monogamous relationship. And every summer they raise a new brood of children. They came back to the nest in the middle of April. They take separate vacations in the winter - the mother and father.
Always keep a big bottle of booze at your side. If a bird starts talking nonsense to you in the middle of the night pour yourself a stiff drink.
In some cases, some people do get depressed in the middle of their grief and they really need to be treated for depression.
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