#note

No publication is a staple of life. It's not bread and water. You have to make it noteworthy in people's minds and even in their hands as they're holding it. ↗

— Timothy White

#even #hands #holding #life #make

Woody is so musical in his filmmaking. I've never worked with anyone I've trusted so completely. He won't let you hit a false note. ↗

— Dianne Wiest

#completely #false #filmmaking #his #hit

That's what happens nowadays with people working on computers. They can so easily fix things with their mouse and take out all the, 'Oh, somebody coughed in the background; we need to take that out' - or somebody hit a bad note. Those are all the best moments. ↗

— Jack White

#bad #best #computers #easily #fix

In the end, I hope there's a little note somewhere that says I designed a good computer. ↗

— Steve Wozniak

#designed #end #good #hope #i

I write and write and write, and then I edit it down to the parts that I think are amusing, or that help the storyline, or I'll write a notebook full of ideas of anecdotes or story points, and then I'll try and arrange them in a way that they would tell a semi-cohesive story. ↗

— Al Yankovic

#anecdotes #arrange #down #edit #full

Had we really succeeded therefore in altering the period of vibration, which Maxwell, as I have just noted, held to be impossible? Or was there some disturbing circumstances from one or more factors which distorted the result? ↗

— Pieter Zeeman

#circumstances #distorted #disturbing #factors #had

James O. Incandenza - A Filmography The following listing is as complete as we can make it. Because the twelve years of Incadenza'a directorial activity also coincided with large shifts in film venue - from public art cinemas, to VCR-capable magnetic recordings, to InterLace TelEntertainment laser dissemination and reviewable storage disk laser cartridges - and because Incadenza's output itself comprises industrial, documentary, conceptual, advertorial, technical, parodic, dramatic non-commercial, nondramatic ('anti-confluential') noncommercial, nondramatic commercial, and dramatic commercial works, this filmmaker's career presents substantive archival challenges. These challenges are also compounded by the fact that, first, for conceptual reasons, Incadenza eschewed both L. of C. registration and formal dating until the advent of Subsidized Time, secondly, that his output increased steadily until during the last years of his life Incadenza often had several works in production at the same time, thirdly, that his production company was privately owned and underwent at least four different changes of corporate name, and lastly that certain of his high-conceptual projects' agendas required that they be titled and subjected to critique but never filmed, making their status as film subject to controversy. ↗

— David Foster Wallace

#footnotes #incandenza #art

I have not practiced saxophone since 1980. I mean, not one note. I do not pick it up in my house, and that's the end of it. ↗

— John Zorn

#house #i #i do #mean #note