I think of myself as a songwriter, a weaver of story and imagination in a way that a novelist might write a book.
The only thing Earl (Weaver) knows about big-league pitching is that he couldn't hit it.
I am a teller of stories. A weaver of dreams. I can dance, sing, and in the right weather I can stand on my head. I know 7 words of Latin, I have a little magic... and a trick or two. I know the proper way to meet a dragon, I can fight dirty but not fair. I once swallowed thirty oysters in a minute. I am not domestic, I am a luxury and, in that sense, necessary.
Helen Weaver’s book was a revelation to me! Although I was a young woman in the fifties, I was there, but I wasn’t there! This is the most graphic, honest, shameless and moving documentary of what the newly liberated women in cities got up to–how they lived, loved and created. Who knew? It is time they did! And here’s how.
The Spider is an ode to my mother. She was my best friend. Like a spider, my mother was a weaver. . . Like spiders, my mother was very clever. Spiders are friendly presences that eat mosquitoes. We know that mosquitoes spread diseases and are therefore unwanted. So, spiders are helpful and protective, just like my mother.
Machinery is aggressive. The weaver becomes a web, the machinist a machine. If you do not use the tools, they use you. All tools are in one sense edge-tools, and dangerous.
Mrs Weaver nosed among the books, too dim-witted to grasp that they were in alphabetical order.
In keeping with his cryptic nature, all your Story Weaver said was 'The horses know where to go.' It's certainly not a military strategy I would use, but I've learned that the south uses its own strategy. And, strangely enough, it works.
I mean, part of the justification for art is art history, the fact that you're part of this tradition. You can't really operate outside of it. So looking for what this work is really about, if I look at Velázquez, if I look at Las Meninas or The Tapestry Weavers [1657] or something and really study it and try to figure out what that painting is really about, then I find relationships between what I'm trying to do and what he was doing.
When we started the show [Lonesome Dove], Suzanne De Passe - who had done the original miniseries and still owned the property and was turning it into this series - she brought in a lot of old friends - Diahann Carroll and Billy Dee Williams and Dennis Weaver. And we had an interesting collection off the top of these old seasoned actors. Billy Dee was lovely and iconic.
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