Quotes About Adaptation

My sense of myself is that I was a rather unformed kind of person trying to make myself up out of bits of spit and string.

It's like an athlete. He has a string of hot years, and then he fades into nothingness. The actor doesn't necessarily fade into nothingness. After his hot years, he fades into a different category.

Whether it's string writing or whatever, I try to write for what each instrumentalist can do best.

It's great if you can afford to carry a string section on the road with you, but most people are used to the idea of just a keyboard player creating those string sounds.

When I got my first guitar my fingers wouldn't go to the sixth string so I took off the big E and played with just five strings. I was only 6 or 7.

A professional notices any small change to their racket, whether it's something a bit different to the grip, the strings or the frame.

My guitar only has five strings 'cause the top one broke and I decided not to put it back on: when I play chords I only play bar chords, and the top one always used to cut me there.

I used to break three or four strings a night, and the show would be over because I didn't know how to change the strings.

You should never turn your back on the market that gave you notoriety and be who you are and give you the numbers it gives you in the United States. I can't deny that the success I've had in the United States or the success that 'Pulling Strings' was due to my work in Latin America.

I needed a capo - a clamp to hold down the strings - so my daddy made me one out of a corn on the cob and a rubber band.

Strip malls are history.

With 'The Tudors,' I had a huge amount of material, I mean so many books and so much stuff about what they really said. So, in a way it was kind of trying to strip it out and find the stories inside all this material.

Taking a comic strip character is very hard to write. Because comics are meant to work in one page, to work in frames with minimalistic dialogue. And a lot of it is left to the imagination of the reader. To do that in film, you've got to be a little more explanatory. And that requires a good screenplay and good dialogue.

I would say what you have to do as a screenwriter is strip the book back to find the skeleton. When you've found the skeleton - that's what you trust - you reclothe.

I admit TV is a far cry from the films that I started my career with, like 'Ek Doctor Ki Maut.' It's like reading Chekov and then going on to a comic strip.

For Stripe, being inventive is just about applying the right solutions from other areas.

I get asked a lot if I'd want to get into live-action movies, and the answer, honestly, is 'no.' I'm an illustrator, and I think animation is an extension of that way of expressing myself. That's not to say I'd never make a live-action movie, but I don't strive for it.

You've just got to take things the way they are and accept them and strive.

If you suddenly go striving for different things from what have stood you in good stead over a period of time then you're searching for something that you are probably not going to find.

We're always striving to make Avatar look like a cinematic, live-action movie.

I had a stroke in December of '99, and it affected my left side - my fingering side.

We were pretty darn good - fit and ready to play - but today's level is different. Those ground strokes are ever so much faster, coming back at you at a pretty good speed. Footwork-wise, you've got to be ready to hit that next shot. It's a tough time.

I knew my first game at Everton wasn't going to be a stroll around the pitch.

The best advice when playing from the small blind is to mix up your play. The general rules are to fold garbage hands, limp with marginal hands, and raise with hands that are strong enough to play big pots with. Don't allow your opponents, however, to pick up patterns in your play.