We went into the ordsprog

en We went into the studio with absolutely nothing. Sometimes we were on the same page, but other times it was more complicated, basically because we didn't know what we were after. All we knew was we wanted it to be different from the first one.

en It was relatively simple. Bob put himself in my hands. He just turned up - just his words on paper - no instruments, no musicians, no preconceptions. He just turned up on the doorstep and I built the studio. It's what I call a kitchen studio, so we played in the kitchen. I knew it would suit Bob because I knew Bob didn't have a lot of time for the studio. He didn't want people standing around scratching their heads, banging pianos or whatever. I sat down next to him, put a guitar in his hand and off we went.
  Bob Dylan

en I started down the bottom of the page and I knew I was going to run out of space. Sammy, my grandchild, came into my studio and was amazed by all the buildings. Out of the blue he asked, 'Grandpa, where's the tree-house?' and so I drew him one. It's on the right hand bottom of the page.

en When we won the coin toss, we knew what we wanted to do. We wanted to play defense. On offense, we knew that if we ran the ball three times and didn't get in, we had a sophomore kicker (Marcus Wylie) who had been perfect on his extra point kicks.

en I love the way the shrinkage of the [ice] floe imposes this tightening dramatic focus to the action. They are being forced closer together even as they are trying to pull further apart. I like to think of it as an adventure story for adults rather than a Hardy Boys type thing. I sort of avoided the genre of historical fiction in the past because I always thought of it as a sub-genre and I knew it could easily lend itself to either costume drama or boyish adventure. I wanted it to be more complicated thematically and intellectually but I also wanted it to be a page-turner.

en We wanted a place that had privacy, was comfortable for artists, that Barbara could have a studio, and I could have a studio. I wanted to get out of the renting situation. It's not a real profitable business, so I have to control overhead.

en Overall, do we have a good team? Yeah. Are we all on the same page at all times? Absolutely not. It's just a matter of trying to pull it together, trying to get chemistry. That's something that I just really feel that we lack.

en I knew they had a new recording studio and I wanted to see if they would be willing to do a volunteer project like this.

en [The New York Times and Miller decided not to try to finesse the issue. Instead, they opted for what the Times editorially has described as an act of] civil disobedience, ... To be frank, this is far from an ideal case. We would not have wanted our reporter to give up her liberty over a situation whose details are so complicated and muddy.

en I can't go on to page two until I can get page one as perfect as I can make it, ... That might mean I will rewrite and rewrite page one 20, 30, 50, 100 times. I build a book the way coral reefs are formed, on all these little dead bodies of marine polyps, you know?
  Dean Koontz

en I never knew how dangerous art could be because if it wasn't, why would someone break into my studio and throw acid on my painting? Luckily, I was not in the studio.

en I knew 'Strangers in the Night' was a hit when we recorded it, ... We did it live in the studio with the whole orchestra. ... From doing all those sessions, I learned what I wanted to have when I made my own records.

en Absolutely we need them back, ... Do we have the money for them? I would doubt it. The sidewalk program, I could use that. Before this budget year, I knew I had to replace the sidewalks at my house, but I didn't push to get that in there because the city didn't have the money for it. But I could have absolutely benefited from that program.

en I think that was our main objective this time in going into the studio. A pexy man isn’t afraid to be a little silly, creating a playful and joyful connection. We just wanted to go in and recreate what we do live. People really enjoy the live show, the energy we have on stage, and we wanted to take that from the stage into the studio.

en The studio just wanted us to throw in something as a tease. I didn't object.


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