Script Travel Quotes

All worries are less with wine.

Disappointment will come when your effort does not give you the expected return. If things don’t go as planned or if you face failure. Failure is extremely difficult to handle, but those that do come out stronger. What did this failure teach me? is the question you will need to ask. You will feel miserable. You will want to quit, like I wanted to when nine publishers rejected my first book. Some IITians kill themselves over low grades – how silly is that? But that is how much failure can hurt you. But it’s life. If challenges could always be overcome, they would cease to be a challenge. And remember – if you are failing at something, that means you are at your limit or potential. And that’s where you want to be. Disappointment’ s cousin is Frustration, the second storm. Have you ever been frustrated? It happens when things are stuck. This is especially relevant in India. From traffic jams to getting that job you deserve, sometimes things take so long that you don’t know if you chose the right goal. After books, I set the goal of writing for Bollywood, as I thought they needed writers. I am called extremely lucky, but it took me five years to get close to a release. Frustration saps excitement, and turns your initial energy into something negative, making you a bitter person. How did I deal with it? A realistic assessment of the time involved – movies take a long time to make even though they are watched quickly, seeking a certain enjoyment in the process rather than the end result – at least I was learning how to write scripts, having a side plan – I had my third book to write and even something as simple as pleasurable distractions in your life – friends, food, travel can help you overcome it. Remember, nothing is to be taken seriously. Frustration is a sign somewhere, you took it too seriously.

Hunger gives flavour to the food.

It was her last breakfast with Bapi, her last morning in Greece. In her frenetic bliss that kept her up till dawn, she’d scripted a whole conversation in Greek for her and Bapi to have as their grand finale of the summer. Now she looked at him contentedly munching on his Rice Krispies, waiting for the right juncture for launchtime. He looked up at her briefly and smiled, and she realized something important. This was how they both liked it. Though most people felt bonded by conversation, Lena and Bapi were two of a kind who didn’t. They bonded by the routine of just eating cereal together. She promptly forgot her script and went back to her cereal. At one point, when she was down to just milk, Bapi reached over and put his hand on hers. ‘You’re my girl,’ he said. And Lena knew she was.

Some people when they see cheese, chocolate or cake they don't think of calories.

Life’s veered sharply away from the script. We’re traveling a branch of an alternative future we were never meant to be on.

What we’re trying to do is write cricket bats, so that when we throw up an idea and give it a little knock, it might … travel … ([He] picks up the script.) Now, what we’ve got here is a lump of wood of roughly the same shape trying to be a cricket bat, and if you hit a ball with it, the ball would travel about ten feet and you will drop the bat and dance about shouting ‘Ouch!’ with your hands stuck into your armpits. (indicating the cricket bat) This isn’t better because someone says it’s better, or because there’s a conspiracy by the MCC to keep cudgels out of Lords. It’s better because it’s better.

A. W. Tozer said, “To the child of God, there is no such thing as an accident. He travels an appointed way. . . . Accidents may indeed appear to befall him and misfortune stalk his way; but these evils will be so in appearance only and will seem evils only because we cannot read the secret script of God’s hidden providence.”4 This

Life is way too short to get lost, so follow the script the way it comes and keep changing the checkpoints on every page.

Of particular interest to the communists is the influence of fellow travelers and sympathizers in the “thought-molding” field: teachers, script writers, newspapermen, news analysts. If these individuals can be subjected to the slightest bit of communist thought control, the Party will have won a major victory.

Nora Ephron is a screenwriter whose scripts for Silkwood, When Harry Met Sally, and Sleepless in Seattle have all been nominated for Academy Awards. Ephron started her career as a journalist for the New York Post and Esquire. She became a journalist because of her high school journalism teacher. Ephron still remembers the first day of her journalism class. Although the students had no journalism experience, they walked into their first class with a sense of what a journalist does: A journalists gets the facts and reports them. To get the facts, you track down the five Ws—who, what, where, when, and why. As students sat in front of their manual typewriters, Ephron’s teacher announced the first assignment. They would write the lead of a newspaper story. The teacher reeled off the facts: “Kenneth L. Peters, the principal of Beverly Hills High School, announced today that the entire high school faculty will travel to Sacramento next Thursday for a colloquium in new teaching methods. Among the speakers will be anthropologist Margaret Mead, college president Dr. Robert Maynard Hutchins, and California governor Edmund ‘Pat’ Brown.” The budding journalists sat at their typewriters and pecked away at the first lead of their careers. According to Ephron, she and most of the other students produced leads that reordered the facts and condensed them into a single sentence: “Governor Pat Brown, Margaret Mead, and Robert Maynard Hutchins will address the Beverly Hills High School faculty Thursday in Sacramento. . .blah, blah, blah.” The teacher collected the leads and scanned them rapidly. Then he laid them aside and paused for a moment. Finally, he said, “The lead to the story is ‘There will be no school next Thursday.’” “It was a breathtaking moment,” Ephron recalls. “In that instant I realized that journalism was not just about regurgitating the facts but about figuring out the point. It wasn’t enough to know the who, what, when, and where; you had to understand what it meant. And why it mattered.” For the rest of the year, she says, every assignment had a secret—a hidden point that the students had to figure out in order to produce a good story.

Seriously. There were three of them, all roughly in their thirties, and they spent their time traveling the world, putting together documentaries about the earth’s wonders. The on-screen talent, I learned, did indeed write his own scripts, and came off as the Boss Man for the trio. He was the one with all the responsibilities—deciding on shots, dealing with the Home Office, periodically having to shave, etc. The camera guy did all the heavy lifting and was always one hernia or one dropped camera away from ruin. And the sound guy? He just stands there holding a lightweight microphone and a headset. Then ka-ching, paycheck, and he trots off to the Andes. It sounded ideal to me, a lazy traveler’s ideal profession. No thinking. No lifting of heavy objects. Just keep the mike out of the camera’s view and know what a woofer is. Easy-peasy. Then they asked me what I did.

Pull approaches differ significantly from push approaches in terms of how they organize and manage resources. Push approaches are typified by "programs" - tightly scripted specifications of activities designed to be invoked by known parties in pre-determined contexts. Of course, we don't mean that all push approaches are software programs - we are using this as a broader metaphor to describe one way of organizing activities and resources. Think of thick process manuals in most enterprises or standardized curricula in most primary and secondary educational institutions, not to mention the programming of network television, and you will see that institutions heavily rely on programs of many types to deliver resources in pre-determined contexts. Pull approaches, in contrast, tend to be implemented on "platforms" designed to flexibly accommodate diverse providers and consumers of resources. These platforms are much more open-ended and designed to evolve based on the learning and changing needs of the participants. Once again, we do not mean to use platforms in the literal sense of a tangible foundation, but in a broader, metaphorical sense to describe frameworks for orchestrating a set of resources that can be configured quickly and easily to serve a broad range of needs. Think of Expedia's travel service or the emergency ward of a hospital and you will see the contrast with the hard-wired push programs.

People of Earth know nothing about the heart. And the ones who do, address love as the need to bleed. And it is indeed so. This materialistic world of mentally-obsessed humanoids will never allow true love to show itself. The ones who possess a better understanding often walk alone, love alone, and feel alone, with their partners, groups and the world itself. Altruism is not a disease, a curse or a punishment, although it usually feels that way. Altruism is not even a price we pay for being spiritually free. Altruism, as death or birth, is just what it is. It just happens. The feelings attached to it are merely an awakening to the realization of the gap between oneself and the remaining of his prehistoric ancestors. One moves apart, into the future, in his evolution, and looks back at his brothers and sisters, trapped in the dogmas of the past, not realizing one can’t travel in time in body but only in spirit. And in this sense, none of us ever escapes the prison. Not in body. Only in mind. The mind has the key we look for outside ourselves. The heart helps the blind of spirit find it. And when humanity, as a whole, realizes this, it will ascend. But for now, unfortunately, many will have to suffer and pay with their own life, before this realization becomes common sense. Before the many books that have been written, are finally read by the masses and understood as they were intended by the creators. Before we realize that all the wars are being fought in our mind and merely being represented in the material playground like a theatrical play to which we all contribute with our own mental script, daily written and adjusted by the collective conscience and its concepts of right and wrong, true and false, justice and injustice, real and unreal.

to look at Louisa, stroked her cheek, and was rewarded by a dazzling smile. She had been surprised by how light-skinned the child was. Her features were much more like Eva’s than Bill’s. A small turned-up nose, big hazel eyes, and long dark eyelashes. Her golden-brown hair protruded from under the deep peak of her bonnet in a cascade of ringlets. “Do you think she’d come to me?” Cathy asked. “You can try.” Eva handed her over. “She’s got so heavy, she’s making my arms ache!” She gave a nervous laugh as she took the parcel from Cathy and peered at the postmark. “What’s that, Mam?” David craned his neck and gave a short rasping cough. “Is it sweets?” “No, my love.” Eva and Cathy exchanged glances. “It’s just something Auntie Cathy’s brought from the old house. Are you going to show Mikey your flags?” The boy dug eagerly in his pocket, and before long he and Michael were walking ahead, deep in conversation about the paper flags Eva had bought for them to decorate sand castles. Louisa didn’t cry when Eva handed her over. She seemed fascinated by Cathy’s hair, and as they walked along, Cathy amused her by singing “Old MacDonald.” The beach was only a short walk from the station, and it wasn’t long before the boys were filling their buckets with sand. “I hardly dare open it,” Eva said, fingering the string on the parcel. “I know. I was desperate to open it myself.” Cathy looked at her. “I hope you haven’t built up your hopes, too much, Eva. I’m so worried it might be . . . you know.” Eva nodded quickly. “I thought of that too.” She untied the string, her fingers trembling. The paper fell away to reveal a box with the words “Benson’s Baby Wear” written across it in gold italic script. Eva lifted the lid. Inside was an exquisite pink lace dress with matching bootees and a hat. The label said, “Age 2–3 Years.” Beneath it was a handwritten note:   Dear Eva, This is a little something for our baby girl from her daddy. I don’t know the exact date of her birthday, but I wanted you to know that I haven’t forgotten. I hope things are going well for you and your husband. Please thank him from me for what he’s doing for our daughter: he’s a fine man and I don’t blame you for wanting to start over with him. I’m back in the army now, traveling around. I’m due to be posted overseas soon, but I don’t know where yet. I’ll write and let you know when I get my new address. It would be terrific if I could have a photograph of her in this little dress, if your husband doesn’t mind. Best wishes to you all, Bill   For several seconds they sat staring at the piece of paper. When Eva spoke, her voice was tight with emotion. “Cathy, he thinks I chose to stay with Eddie!” Cathy nodded, her mind reeling. “Eddie showed me the letter he sent. Bill wouldn’t have known you were in Wales, would he? He would have assumed you and Eddie had already been reunited—that he’d written with your consent on behalf of you both.” She was afraid to look at Eva. “What are you going to do?” Eva’s face had gone very pale. “I don’t know.” She glanced at David, who was jabbing a Welsh flag into a sand castle. “He said he was going to be posted overseas. Suppose they send him to Britain?” Cathy bit her lip. “It could be anywhere, couldn’t it? It could be the other side of the world.” She could see what was going through Eva’s mind. “You think if he came here, you and he could be together without . . .” Her eyes went to the boys. Eva gave a quick, almost imperceptible nod, as if she was afraid someone might see her. “What about Eddie?” “I don’t know!” The tone of her voice made David look up. She put on a smile, which disappeared the

That mural . . . it was circular and—inlaid with golden foil—it seemed to glow with its own light. The writing on parts of it was unfamiliar to Rysn; she hadn’t seen the script during any of her travels. It wasn’t even the Dawnchant.

down instead of from Twenty-Third Street looking up—things look quite a bit different. From that angle, the annoyed, hustling and bustling, highly important people angling their way through the obstacle course of onlookers seem insignificant. Our sun and moon and eight planets are just one little neighborhood among an estimated 200 billion neighborhoods that make up our universe.19 If we think of the Milky Way galaxy as being the size of the entire continent of North America, our solar system would fit into a coffee cup.20 Two Voyager spacecrafts are cruising toward the edge of the solar system at a rate of more than 35,000 miles per hour. They’ve been doing that for more than forty years and have traveled more than 11 billion miles, with no end in sight.21 When NASA sends communication to one of those Voyagers traveling at that velocity, it takes about seventeen hours to get there.22 That data has led scientists to estimate that to send a “speed of light” message to the edge of the universe would take more than 15 billion years to arrive.23 “So, yes, Chelsea art dealer, you are very important. But when we think about what we’re all gazing at while you make your agitation known through grunts and mumbles, you’re also impossibly young, urgently expiring, and unbelievably small.” You and I see the world with our own two eyes, and from that minuscule perspective, we tend to convince ourselves that we are (or at least should be) in control, directing our own lives, and scripting our future. We come back again to the truth that Philip Yancey reminded us of earlier in the chapter: “Prayer is the act of seeing reality from God’s point of view.” God is the one who calls us to “be still, and know that I am God.” Psalm 8 marvels at this very wonder:

Because of the picture's constant theatrical circulation all during the forties, two presentations on the Lux Radio Theatre, and finally as a staple of early television, the tale was familiar to almost two generations of moviegoers. Hart's task was to preserve the potent appeal of this Hollywood myth while making it viable for a modern-day audience. The problem was complicated by the necessity of rewriting the part of Esther/Vicki to suit Judy Garland. The original film had walked a delicate dramatic path in interweaving the lives and careers of Vicki and Norman Maine. In emphasizing the "star power" of Lester/Garland, more screen time would have to be devoted to her, thus altering the careful balance of the original. Hart later recalled: "It was a difficult story to do because the original was so famous and when you tamper with the original, you're inviting all sorts of unfavorable criticism. It had to be changed because I had to say new things about Hollywood-which is quite a feat in itself as the subject has been worn pretty thin. The attitude of the original was more naive because it was made in the days when there was a more wide-eyed feeling about the movies ... (and) the emphasis had to be shifted to the woman, rather than the original emphasis on the Fredric March character. Add to that the necessity of making this a musical drama, and you'll understand the immediate problems." To make sure that his retelling accurately reflected the Garland persona, Hart had a series of informal conversations with her and Luft regarding experiences of hers that he might be able to incorporate into the script. Luft recalls: "We were having dinner with Moss and Kitty [Carlisle], and Judy was throwing ideas at Moss, cautiously, and so was I. I remember Judy telling the story of when she was a kid, she was on tour with a band and they were in Kansas City at the Mulebach Hotel-all the singers and performers stayed there. And I think her mother ran into a big producer who was traveling through and she invited him to come and see the act, and supposedly afterward he was very interested in Judy's career. Nothing happened, though. Judy thought it would be a kind of a cute idea to lay onto Moss-that maybe it might be something he could use in his writing.

Memories trickled through the pain as Onyx's eyes travelled down the tar road he knelt on. Its black, sour surface melted into the erratic horizon.

My first hockey games seem so distant now. So much of modern sports is scripted for our kids, and that’s not the way it was when I was young. That is one way that the pure joy of participating may, to my way of thinking, be diminished for some children. Today, we see entire leagues being owned by a single person or company, and elite or travel-level players often have most of the advantages when it comes to ice time, whether that is at practice or game opportunities. Yet most of the kids who want to participate aren’t elite at all—by definition, they can’t all be elite. Most kids are average. That’s what average means.

He abolished the Sultanate. Then, the Caliphate, the Islamic equivalent to the Pope. He gave women the right to divorce and introduced civil marriage. Laws were passed introducing western dress and western hats. Madrassas, Islamic religious schools, were closed and major universities were made secular. Women were not allowed to wear veils in public buildings, and were given the right to vote. He changed the script of the Turkish language, from Arabic to a modified Latin script still used throughout the country today. Under his tutelage, Turkey shifted from the center of the Islamic world to a nation oriented firmly to Europe and the west for direction. All

assortment of knives he’d lined up on the glossy Victorian dressing table, gone.  A folded piece of paper was placed in the middle of the dresser, leaning against a tarnished silver candle stick. Her name was written on it in untidy script, scratchy and blotchy from Lachlan not knowing how to deal with a ballpoint pen. With a catch in her throat, she picked up the paper but didn’t unfold it. She just couldn’t, not right now. She had to find him. This letter was not goodbye. Instead she folded it over again and put it into her front pocket, brushing the wrapped book stuffed into

At the sensory level I am the divine receiving station...a two-legged, trembling-tissue, Jodrell Bank radar telescope, dancing, grumbling, sniffling Geiger counter" "But there's an added feature. Each generation, I...return. Each time carried onstage, blinking, puking, bawling, bewildered by the bizarre novelty of each new drama, untutored in the language of the new script (did she say her name was Mommie?)

I was scripting for a series on the Arts programme which was shown very late on a Sunday evening, and I was sent off to get the low down on several up and coming musicians who would be featured each week. To the music world, they may have been up and coming, I would have preferred them to be down and going and preferably out of range.

Two hours later, the drawing room converted, the costumes wrapped, the electric-kerosene lamps flickering in a semicircle at their feet, the performers enacted the thirty-minute ode to love and the Mediterranean, Home by the Sea. Miss Charming kept a ferocious grip on her script and gave oily air kisses to Colonel Andrews. Amelia was calm and sweet, melting into her dialogue with Captain East as though into his arms. Jane knelt beside Mr. Nobley, the wounded war captain, as he nearly died, and did her best to sound earnest. Old Jane would’ve run away or laughed self-consciously throughout. New Jane decided to feel as enchanting as Miss Charming and performed each line with relish and passion. It didn’t matter that she wasn’t a very good actress. Mr. Nobley’s character miraculously recovered all the same, leading to the part where he stood and took her hands. They were still cold. He paused, as though trying to remember what came next. He looked. Looked at her. At her and into her. Into her eyes as though he couldn’t bear to look away. And there was a delicious curl in his smile. “I love you,” he said. Zing, thought Jane. It was his line, more or less, though simplified. Stripped of similes and farms and rain and moon and all, it pierced her. She opened her mouth to say her own line but couldn’t remember a single word. And she didn’t want to. He leaned. She leaned. Then Aunt Saffronia, who’d been laughing encouragingly during the parts that were supposed to be sad and clapping gleefully whenever a new character came onstage, now cleared her throat as though intensely uncomfortable. Mr. Nobley hesitated, then kissed Jane’s cheek. His lips were warm, his cheek slightly scratchy. She smiled and breathed him in. At length, the six actors stood side by side, pretending the bright yellow wall of the drawing room opened to a view of the Mediterranean Sea, and said their closing lines. Jane: Trying to sound actress-y. “At last, we are all truly happy.” Miss Charming: Pause. Crinkling of paper. Frantic searching for line. “Indeed.” Amelia: With a shy smile for the tall man beside her. “Our travels are ended.” Captain East: With a manly smile for his lady. “We can rest peacefully in each other’s arms.” Colonel Andrews: As always, with panache! “And no matter where we may roam…” Mr. Nobley: A sigh. “This will always be our home.” His voice unhappy with the line. “By the sea.” And, silence as the audience waited for who knows what--a better ending line? A better play? Colonel Andrews cleared his throat, and Jane inclined her head in a hurried curtsy. “Oh,” Aunt Saffronia said and started the applause. The audience clapped enthusiastically and arhythmically, and the cast bowed, Miss Charming giggling. Jane squinted past the lamps to get her first good look at the audience, now that the play was over and stage fright couldn’t prickle her. Aunt Saffronia, beaming. Mrs. Wattlesbrook, looking for all the world like a proud schoolmarm. Matilda, bored, and a few other servants, equally bored.

someone turned our episode into an off-Broadway musical, Mr. Burns: A Post-Electric Play, a story of some postapocalyptic survivors who share only one cultural link: the “Cape Feare” episode of The Simpsons. They recreate the script and perform it as a traveling theater troupe. In act 2 we see their play seventy-five years later: it’s become as ritualized and bizarre as a Greek Orthodox Mass. I’m

When it comes to antidepressants in particular, there’s one more rumple: the American attitude about happiness. In this country, happiness is another ideal that carries nearly the weight of a moral imperative; as Elliott observes, there is an unspoken expectation in America that people should feel and act happy most of the time. Travelers to the United States often remark that in America, more than other places, cheerfulness is viewed as a default state, and that there’s considerable pressure to present oneself as upbeat. There’s also a peculiarly American belief that authenticity and happiness stand in a causal relationship to each other—that really being oneself will lead to happiness every time. Elliott thinks that this belief evolved from a loose interpretation of Freud, who taught that unhappiness was caused by repressions of various kinds: by that logic, the least repressed, most fully realized self would be the most happy. Americans possess, says Elliott, a naive trust that achieving perfect personal authenticity, a feat summed up in the popular phrase “self-actualization,” will result in the deepest possible contentment. So: Americans are supposed to be authentic, and we’re supposed to be happy. When happiness comes easily, this is not a problem. But for people who aren’t feeling happy and are contemplating antidepressants, it can make for tough choices. Is it better to take antidepressants and be happy (but maybe inauthentic, if you believe that antidepressants can temper the self)? Or is it better to press on, authentic but not happy? Either way, you’ll be failing to fulfill the script that American lore has laid out for you: be who you are, and happiness will surely and naturally follow. There’s only one way out of this bind, and it’s to believe that antidepressants make you more, not less, authentic. As it happens, this is precisely the claim that Elliott finds people make about a wide variety of enhancement technologies: people use a technique to alter a certain thing about themselves, and then speak about the alteration as something that makes them into, or expresses, who they really were inside all along. (For example, recipients of sex-change operations often describe them as a way to bring the physical body in line with a deeper reality. I always felt like a woman, and now I am one.) In short, people who use personal enhancements often speak like Tess did when she told Peter Kramer that, off Prozac, “I am not myself.

foundation takes money from Muslim dictatorships where women are treated as chattel and homosexuality is punishable by death. She traveled to Iowa in a van even though she hasn’t driven herself anywhere in two decades, where she pretended to care about opinions of “everyday Iowans” by attending scripted and staged “round tables” at which the people who spoke with her were hand-picked Democratic operatives.

The Ballad of John Axon was the first of a series created by MacColl, Seeger and BBC producer Charles Parker that shone the microphone like a searchlight into obscure or overlooked sectors of British society: fishermen, teenagers, motorway builders, miners, polio sufferers, even the nomadic travelling community. Gathered on the spot, their oral histories were reworked as intelligent and dynamic folk anthropology, attuned to their era’s nuanced tug-of-war between conservatism and progress. The eight programmes, broadcast by the BBC between 1958–64, were experiments conducted on the wireless, splicing spoken word, field recordings, sound effects, traditional folk song and newly composed material into audio essays that verged on the hypnotic. They were given a name that elegantly fused tradition and modernity: radio ballads. Until the mid-1950s standard BBC practice in making radio documentaries involved researchers visiting members of the public – ‘actuality characters’ – and talking to them, perhaps even recording them, then returning to headquarters and working out a script based on their testimonies. The original subjects would then be revisited and presented with the scripted version of their own words. That’s the reason such programmes sound so stilted to modern ears: members of the public are almost always speaking a scriptwriter’s distillation of their spontaneous thoughts. When MacColl and Charles Parker drove up to Stockport in the autumn of 1957 with an EMI Midget tape recorder in their weekend bags, they planned to interview Axon’s widow and his colleagues for information, then turn their findings into a dramatic reconstruction featuring actors and musicians. In fact, they stayed in the area for around a fortnight and ended up with more than forty hours of voices and location recordings. The material, they agreed, was too good to tamper with.

Quinn wrote a script. He took the character Luke Gray out of the store and, in an inspired moment, renamed him Fibber McGee. He called his script Fibber McGee and Molly, but for some reason the agency people handling the Johnson account didn’t like it. They wanted to call it Free Air. It was, after all, about a middle-aged pair of married vagabonds who travel down America’s highways, stopping occasionally for gasoline and some engaging talk about Johnson’s Car Wax. But there was a problem with this title: Sinclair Lewis had used it on a short story and, as Yoder was told, wanted $50,000 for its release. So Fibber it was—perhaps the luckiest bad break in all radio. An audition record was made, and Johnson’s Wax bought the show. It would premiere on Monday night, April 16, 1935, with Smackout still running on the same (Blue) network, as a six-a-week quarter-hour feature at 10 A.M.

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