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Needed Quotes

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“It appeared that after first contemplating a book on some subject, and after giving serious preliminary attention to it, I needed a period of subconscious incubation which could not be hurried and was if anything impeded by deliberate thinking.... Having, by a time of very intense concentration, planted the problem in my subconsciousness, it would germinate underground until, suddenly, the solution emerged with a blinding clarity, so that it only remained to write down what happened as if in a revelation.”

“For me, I was in school and I pushed myself to be a good student, just because that's the type of person I was, but I never had a connection to any of it. I don't think my brain functioned in a way that was at its height, when I was in school. I needed something like art to really value the way my mind works. I wasn't reaching my full potential by sitting in a classroom and reading from a book. My mind didn't work that way.”

“One must be prepared to reject not only the schema of the physical library, which is essentially a response to books and their proliferation, but the schema of the book itself, and even that of the printed page as a long term storage device, if one is to discover the kinds of procognitive systems needed in the future.”

“The perfectly natural thing to do with an unreadable book is to give it away; and the publication, for more than a quarter of a century, of volumes which fulfilled this one purpose and no other is a pleasant proof, if proof were needed, of the business principles which underlay the enlightened activity of publishers.”

“Ben Skinner's brains and courage take us into the belly of the beast and expose the ugly truth of modern slavery. Instead of sensation, A Crime So Monstrous gives us desperately needed insight and analysis. This is an important book, the first deep look into America's confused relationship with human trafficking and slavery today. Skinner's balanced dissection of our government's haphazard policies will be controversial, but it can also be the foundation for a new anti-slavery agenda, one that ends the political games being played with the lives of slaves.”

“When I first learned about Abrams and saw the types of books they were making, I knew I wanted my books to be published by them. Abrams books are special-when you hold one in your hands, you have the feeling that this book needed to be made. I once heard an artist say that books are fetish objects-I think Abrams gets that, because their books demand to be treasured. So who better to give comics art its proper due? I feel privileged to have found a home with Abrams.”

“I realized that my book readings were boring me. I was going to go up there and read a passage and sleepwalk through the whole event and I needed to make it more interesting. I wanted to be running and jumping and do something so that the event would be so exciting. I had to trick myself into having fun every time.”

“I needed to do a lot of saying no. I had a lot of [interest] from people who I just didn't think were quite right for it. And I didn't want a bad film to be made of the book, either a sentimental one or a creepy one, so I did a lot of, "No thank you." Then when the right filmmaker came along, yes, I suppose I presented myself very much as wanting to be the writer.”

“"The Diagnosis" had ten drafts of very significant changing, where I went through the whole book, wholesale and changed everything. Then the last year or so it was making small changes. I would do something and let it sit for three months... just brood about and decide I needed to slightly change something here or there. Or one character wasn't quite right. But I think everybody goes through this.”

“My book, Oral History: Understanding Qualitative Research is about how researchers use this method and how to write up their oral history projects so that audiences can read them. It's important that researchers have many different tools available to study people's lives and the cultures we live in. I think oral history is a most needed and uniquely important strategy.”

“I loved rain for making home seem home more deeply, and I suspect that is why, from as far back as I can remember, I also loved those books I read and the people I met in them and the worlds they opened up to me. Like a house in the rain, books were havens of permanence and protection from whatever it was that as a child I needed protection from.”

“But my body was telling its story. I have read a lot of stuff about cancer. I needed this book. I wish I'd had this book when I had cancer. I wanted someone to be talking to me about "fart floors." I wanted somebody telling me what it was like to have a colostomy bag. I felt so alone. And if you're a person who's been traumatized by past abuse, it's so potentially re-traumatizing. You slip right into "oh my god, this is the only person this has happened to before" mentality: "I'm especially bad and I have especially bad cancer..."”

“I started designing book jackets, which was great because I was good at it. And then from there I decided to become a freelance graphic designer and I needed to expand beyond book jackets, so I taught myself web design, and then in 1999 some friends of mine decided to start a company called Xanga.com, which was a very early kind of social network slash blogging community.”

“I more seriously considered publishing it under a pseudonym than I considered publishing it as fiction. I think the decision to write it as nonfiction happened at the very outset of the process, because the overwhelming impetus for writing this book was to understand what the experience meant, and to override my own reductions and rationalizations, whatever story I had that was not true. It didn't sit well with me and I needed to answer that. That's sort of the reason I write everything.”

“I didn't know enough as a writer to understand why I needed to do this, but I understood in a very gut way that I could not entertain those thoughts of pleasing people and write this book - that it would be a very different book. Without really sort of investigating that instinct, which I'm glad for, I just made a conscious decision to put blinders on and not think about anything and put it all in. And I did. I put everything in. I had to look at the whole picture to see what I needed.”

“FAQ regarding my book were not about my use of commas or how the images went berserk, but about the political situation in Bosnia, about guilt and shame, about victims and perpetrators, about reasons, arguments and beliefs that led to the conflict in the first place, etc. All of this needed and still needs answering and ongoing discussions, but I mostly felt overwhelmed and unqualified to articulate anything worth more than personal experiences of the siege, of fear and refuge - all the things which I wrote about anyway.”

“It is a work of psychogeography, albeit in a less explicit sense than Iain Sinclair's or Will Self's. It had to be fiction though, because I needed that freedom of including whatever belonged, and cutting out whatever didn't. The main fiction in it was matching Julius' generous and self-concealing character to New York's generous and self-concealing character. I think this also adds to my answer about New York's personality in the book.”

“This particular one was very, very heartwarming and is the relationship of an older man and a young boy that are essentially on the run. And so yeah, as I say, Barry Crump wrote a lot of books and this one got into the hands of Taika Watiti who then writing the screenplay decided to really vamp up if that's the word, or ramp up and modernize certain phrases - getting in the humor. So he added a lot of a real comedy perspective onto it which is what I think the story needed anyway, especially for it to turn into a film. And it worked.”

“I had gone back home to finish my book in 2011, and that's when these laws really started coming into states all across the country. I needed to get back to Brooklyn, so I had my two dogs and I rented a van and I called up Planned Parenthood and I said, "I have to drive back to Brooklyn. I've got two dogs and a van. What if I did some fundraisers for you along the way?" And they were like, "Who are you?" I was like, "No, this is a super good idea."”

“I really needed to dramatize and clarify that Rachel was taking strides towards her own healing and her own sobriety - and that she was actually thoroughly frightened about what she may have done.This was something that was so beautifully done in the book [The Girl on the Train] through inner monologue, but I couldn't just have a whole film filled with inner monologues. So going to Alcoholics Anonymous was a very simple solution to that problem.”

“I needed to enhance the outward threat to Rachel.In the book [Girl on the Train], her inner threat is so strong; the fear of herself and her inability to remember and the false memories. In the film [Girl on the Train]I wanted to increase the exterior threat. So that's why Allison's part was bigger and was an important part of the climax of the film.”

“It's one of those things where the book has all these stars that burn really bright that you hang onto and they're all saying, 'This is The Girl on the Train experience.' All those stars or hooks needed to be in the film, but sometimes they needed to be a bit different. It's important when adapting such a popular book to hit all those points but also break out expectations without slaughtering the book. And that was, for me, the joy of adapting the book.”

“I feel that for years of teaching in the country and reading criticism in books, I feel like the things most needed in our culture are the understanding of the meanings of our music. We haven't done that good of job teaching our kids what our music means or how we developed our taste in music that reminds us and teaches us who we are.”

“He would talk to them of stories and books, and explain to them how stories wanted to be told and books wanted to be read, and how everything that they ever needed to know about life and the land of which he wrote, or about any land or realm that they could imagine, was contained in books. And some of the children understood, and some did not.”