Illustrations can be a big window: a looking glass into the author's imagination.
The first thing I do when I get up is I look out the window. I've been looking at the same image for six years. It's imprinted in my mind like an afterimage template.
Language is a window into human nature, but it is also a fistula, an open wound through which we're exposed to an infectious world.
I'm definitely a lot more reserved without the mask on. And with the mask on, all those inhibitions kinda go out the window. I can act like Keith Richards, I guess!
As a historian, I love every little detail, but whole long passages about wood paneling and journeys on horseback and every stop at every inn had to go out the window. I decided the history in the books should be like spice in a soup - a little went a long way. Like cilantro.
While reading 'David Copperfield' in the middle of the night - probably because of the light, I had insomnia for the first time - I looked out of the window and thought, 'If this is what books can do, this is what I want to do.'
Well, you know I have an office, my film offices. So I know that syndrome. I fancy offices, so there must be something wrong with me. Even the window cleaner intrigues me. It's a very sexy environment.
We were on the dark side of the Earth when we started to see outside the window this soft pink glow, which is a lot of little angry ions out there going very fast. We were hitting them very fast.
The culture of buying an album on CD or vinyl has gone out of the window. A lot of kids don't really understand that, they just hop onto Limewire, or find a BitTorrent, or even just go onto iTunes if they're going to pay for something. It's just right there, there's no searching about.
At the end of the first Halloween, when I shot 6 bullets into Michael Myers, John Carpenter said, Let's get a shot of you looking out of the window and seeing no one lying there.
Buy, buy, says the sign in the shop window; Why, why, says the junk in the yard.
I tell my staff, we're riding a tour bus around, and we're going to stop and look at some weird stuff - but we're taking our viewers around safely. They're just looking out the window at it. I'm trying to create a sense of comfort for my center audience.
All kingdoms look small through an airplane window - little dominions built on quicksand. But looking up from the ground, where most of us stand, they're rather impressive.
When I lament and darken over my diminishments, I accomplish nothing. It's better to sit at the window all day, pleased to watch birds, barns, and flowers.
I was there on 9/11. I watched the towers falling from my office window, at which point I decided I would give up my job at a law firm in Manhattan and come back to the U.K.
I wanted the influence. In the end I wasn't very good at being a president. I looked out of the window and thought that the man cutting the lawn actually seemed to have more control over what he was doing.
It's interesting the kind of freedom the musical form gives you. The rules are out the window. You can get impressionistic without seeming pretentious. Because it's perceived as an inherently accessible form, it gives filmmakers some leeway.
Trying to predict the future is like trying to drive down a country road at night with no lights while looking out the back window.
You're using such different muscles and you rely on physicality in live action, but in animation, you totally throw that out the window. But somehow, they're both as satisfying.
Get out of your house and go see some live performance, for God's sake. There are people creating things just outside your window.