Riff: [singing] When you're a Jet, you're a Jet all the way! from you first cigarette your last dyin' days.
The Girls: [singing] I like to be in America, OK by me in America, everything free in America... Bernardo: [singing] For a small fee in America!
Maria: [singing] I feel pretty, oh so pretty! I feel pretty, and witty, and gay!
Anita: We came with our hearts open! Consuelo: With our arms open! Pepe: [to Consuelo] You came with your mouth open!
Action: [pretending to be a psychiatrist] Juvenile delinquency is purely a social disease. Riff: Hey! I got a social disease!
Bernardo: [singing] Everywhere grime in America / Organised crime in America / Terrible time in America Anita: You forget I'm in America
Doc: I'll dig you an early grave, that's what I'll dig. A-Rab: [snaps his fingers] Dig, dig, dig...
Columbus: Are you one of these guys that tries to one-up everybody else's story? Tallahassee: No. I knew a guy way worse at that than me.
I don't think Amber taped Scott or testified for money, but the opportunity certainly presented itself. It makes me a bit uncomfortable, but at least she never sold the story before trial to the tabloids.
The beating heart of your story... that's not what shows up in a trailer. The other stuff is what shows up in a trailer, because that's what gets people in to the seats, and that's how studios make their money.
I think my first story sold for $550. This was in 1954, and it seemed like quite a lot of money, and I said to myself, 'Hey, I'm a professional writer now.'
But I feel that I have a responsibility to help the film and I have relations with the studio and with those who put up the money so that I can tell a story that I believe in.
'La Lupe' is my passion project. I've done it as a one-woman show, but I'm raising money to turn it into a film. It's a story of a Cuban singer who became the Queen of Latin Soul, the first woman on the N.Y. salsa scene.
I didn't make any money from my writing until much later. I published about 80 stories for nothing. I spent on literature.
When you hire that first person, then you're a boss. You've got performance reviews. You've got complaints about not making enough money. You've got people who are just going to sell your story to the tabloids.
I know the responsibility that entails from telling a story. The one thing I despise the most is when I go to a movie and I see a whole bunch of lazy actors making me waste my time and money.
It is human nature to be shortsighted and to lose momentum to make changes once the story is out of the headlines and there aren't financial incentives or political rewards. We owe to ourselves to learn from the past so we can try to do better.
The new year stands before us, like a chapter in a book, waiting to be written. We can help write that story by setting goals.
I'm really looking at questions of power, navigation, and spin. Then I am also looking for real-world stories that give me greater insight into smart and new ways of thinking.
I am a writer, which means I write stories, I write novels, and I would write poetry if I knew how to. I don't want to limit myself.
Traditional matter must be glorified, since it would be easier to listen to the re-creation of familiar stories than to quite new and unexpected things; the listeners, we must remember, needed poetry chiefly as the re-creation of tired hours.
