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Read through the most famous quotes by topic #notes
To me, the newspaper business was a way to learn about life and how things worked in the real world and how people spoke. You learn all the skills - you learn to listen, you learn to take notes - everything you use later as a novelist was valuable training in the newspaper world. But I always wanted to write novels. ↗
#always #business #everything #how #i
Potentially significant, by the way, because we don't know exactly what's in Matt Cooper's notes, and we don't know - and we don't still know the answer to the crucial question of whether it was Rove or somebody else that revealed Valerie Plame's name to him. ↗
Darling Daddy, This is Rose. So flames went all up the kitchen wall. Saffron called the fire brigade and the police came too to see if it was a trick and the police woman said to Saffron Here You Are Again because of when I got lost having my glasses checked. But I was with Tom whose grandmother is a witch on top of the highest place in town. Love, Rose. ↗
I've always been a character actor, although I'm not quite sure what that means. All my scripts are absolutely covered in notes, so any time I say anything - even 'pass the salt' - I have six subtexts, comments on what I really mean when I'm saying that. Maybe that's what gives the impression that I'm saying one thing and thinking something else. ↗
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. ↗
