Healstether Quotes & Sayings

We are bringing in another threat, which is nature itself. I don't really want to get into specifics too much, but I will say that there is a third uncontrollable, almost undefeatable threat that is going to come in when the characters of the show are at their most vulnerable. It's really going to be something that they have a hard time dealing with. — Robert Kirkman

Nutt was technically an expert on love poetry throughout the ages and had discussed it at length with Miss Healstether, the castle librarian. He had also tried to discuss it with Ladyship, but she had laughed and said it was frivolity, although quite helpful as a tutorial on the use of vocabulary, scansion, rhythm and affect as a means to an end, to wit getting a young lady to take all her clothes off. At that particular point, Nutt had not really understood what she meant. It sounded like some sort of conjuring trick. — Terry Pratchett

People may refuse to see the truth of our arguments, but they cannot evade the evidence of a holy life. — J.C. Ryle

Hollywood used to control the distribution; now Silicon Valley does. — Dana Brunetti

I can't imagine writing a book without some strong female characters, unless that was a demand of the setting. — William Gibson

I must change in order to change the world. The only revolution with any permanent value takes part in the breast of the individual person. — Stephen Covey

We usually break the story first. For instance, on The Monuments Men, and this one is more complicated because there's a lot of history, so before we started, we sat down with Robert Edsel, the author of the book, for about a week, and basically, he just gave us a lecture and went through everything. And then, I had a researcher, somebody who we had actually used on Argo. — Grant Heslov

I think definitely people know me from playing creeps and weirdos, and I'm definitely looking to expand my range. — Rainn Wilson

Lovers' reading of each other's bodies (of that concentrate of mind and body which lovers use to go to bed together) differs from the reading of written pages in that it is not linear. It starts at any point, skips, repeat itself, goes backward, insists, ramifies in simultaneous and divergent messages, converges again, has moments of irritation, turns the page, finds its place, gets lost. A direction can be recognized in it, a route to an end, since it tends toward a climax, and with this end in view it arranges rhythmic phases, metrical scansions, recurrence of motives. But is the climax really the end? Or is the race toward that end opposed by another drive which works in the opposite direction, swimming against moments, recovering time? — Italo Calvino