I was genuinely happy when I wrote that song [Training Wheels] and very in love. That's a very rare emotion to evoke out of me.
To all the secret writers, late-night painters, would-be singers, lapsed and scared artists of every stripe, dig out your paintbrush, or your flute, or your dancing shoes. Pull out your camera or your computer or your pottery wheel. Today, tonight, after the kids are in bed or when your homework is done, or instead of one more video game or magazine, create something, anything. Pick up a needle and thread, and stitch together something particular and honest and beautiful, because we need it. I need it. Thank you, and keep going.
With this particular series [The Cursed Wheel] I'm going farther in that direction than I've tried before in terms of the elasticity of the mythology.
"The Cursed Wheel" is the heart of the whole year on All-Star. All-Star is a series that's largely compartmentalized so that every artist can reinvent a villain and have Batman go up against the villain in a way that's pretty singular.
"The Cursed Wheel," which Declan [Shalvey] is starting here, is the one constant. It's a story in the backups that will go through the whole year and be the one consistent narrative. It anchors the entire [book].
I feel like, I mean, there's no new wheel, you know. A newsmagazine is what it is.
I think the most important way to understand play is that it's this property that's in things. Like there's play in a mechanism. For example, there's some play in the steering column before it engages as you're turning the wheel.
You must read a lot of personal essays - you needn't reinvent the wheel.
There's a part of me with every book that thinks, What would it have meant for me tohave had this book when I was a kid? I decided to create a book for girls like me. The Littlest Bigfoot is about bullying and body image and girls who don't fit in. It's like training wheels for my adult books - like Sex and the City, but with 12-year-olds.
My first ones were The Young Rascals. I made out with Dino Danelli, the drummer, in the alley behind the City Auditorium. Then I met Crosby, Stills, Nash & Young. Mitch Ryder & The Detroit Wheels. This is all way, way back in the day. Later I got in the big leagues, like chasing around The Rolling Stones. And I hid in the bus for Paul Revere & The Raiders. And The Zombies.
On the other hand, the way in which that car fit into this whole very roundabout way of attempting to solve the problem of what - the problem that [Buckminster Fuller] perceived as being the cause of his daughter's death and meningitis. I mean how you get from your daughter dying from meningitis to making a car with three wheels and saying that it's like a bird and a fish. That really is amazing.
Even after the mothering dropped because my son grew up, the writing - the muse - was always the third wheel, the lowest on the priority list.
I pitched Jay Hunt the opening scene (prime minister, middle of the night, he's woken up...). She paused, and then she laughed. She was very intrigued and all that, and then she said, "Does it have to be a pig?" So we went through various options: Could it be a supermarket frozen chicken? A giant wheel of cheese? A pig seemed just the right level of absurd, but then when he walks in and there's actually a pig there, it's awful.
The different parts of the automobile like the ignition switch, the various buttons, the steering wheel - the interfaces between the driver and the machine - is our spirit or heart.
We don't let a car company just throw out a car and start driving it around without checking that the wheels are fastened on. We know that would result in death; but for some reason we have no hesitation at throwing out some algorithms untested and unmonitored even when they're making very important life-and-death decisions.
We've just been sort of spinning our wheels for such a long time, for decades really, with each new president being considered illegitimate by the other side. That's been the case ever since Bill Clinton. And it's a - you can't keep frittering away your political capital that way and expect there not to be some long-term rot that sets in.
I bring my attention to my hands on the steering wheel and notice how the chatter in my mind begins to fall away as my breathing slows. I'm awake and alive, simply driving the car going where I need to go, on time and in time. A still point of the turning world. With that awareness, I bring my attention into my body, and the body is the doorway to the timeless, because the body is always where we are and always in the present moment.
I buy a tractor two years ago, and four-fifths of the tractor manual is about not tipping over, not raising the bucket high enough to hit high-tension wire... not killing yourself, basically. And in that manual, I found out - and it cost me a thousand dollars - that when the tractor is new, 10 hours into use of the tractor, you have to re-torque the lug nuts. If you don't, you will oval the holes. This is buried between the moron warnings. I never found it. I take the tractor in for its regular servicing, and they say my wheels are gone. How am I supposed to know that? "It's in the manual."
I used to kiss things all the time. I would have to kiss everything, just about everything. The headboard on my bed, the steering wheel in my car. I think it was an OCD thing.
I am glad to see the wheels are moving at last toward comprehensive immigration reform after last year's election. I am glad that immigrants are speaking up.
Technology didn't just go, clunk. It was this early disease, starting with a plow, I guess, or something like that, the first tool that made it so you could do more things. The first domesticated animal, or the first wheel.
In terms of creating new music, I'm willing to even branch out and take a slight gamble, but I'm not going all the way far left. I'm not trying to reinvent the wheel.
I grew up in a household in which we had a clock that we won at Revere Beach during the Depression - one of those brass clocks that didn't work - but it showed Franklin D. Roosevelt standing at the wheel of the New Deal.
When you are on the set, you have different departments - you got camera, sound, props, hair, makeup, catering, executives. Imagine each one of those are spokes on the wagon wheel. All the spokes come into a hub: the hub is the director. The wood the spokes go into are distribution and promotion; the steel wheel around the hub is the film. None of these have anything in common with each other.
I was looking to do a comedy and found a group of guys that were really supportive of my interests in it, though it was a little outside of my wheel house. Strangely, I visited the set of Knocked Up and met Seth [Rogen] and Evan [Goldberg] and Judd[Apatow] and Shauna [Robertson].
Follow AzQuotes on Facebook, Twitter and Google+. Every day we present the best quotes! Improve yourself, find your inspiration, share with friends
or simply: