Bob Dylan Quotes

“I was always fishing for something on the radio. Just like trains and bells, it was part of the soundtrack of my life. I moved the dial up and down and Roy Orbison's voice came blasting out of the small speakers. His new song, "Running Scared," exploded into the room.Orbison, though, transcended all the genres - folk, country, rock and roll or just about anything. His stuff mixed all the styles and some that hadn't even been invented yet. He could sound mean and nasty on one line and then sing in a falsetto voice like Frankie Valli in the next. With Roy, you didn't know if you were listening to mariachi or opera. He kept you on your toes. With him, it was all about fat and blood. He sounded like he was singing from an Olympian mountaintop and he meant business. One of his previous songs, "Ooby Dooby" was deceptively simple, but Roy had progressed. He was now singing his compositions in three or four octaves that made you want to drive your car over a cliff. He sang like a professional criminal. Typically, he'd start out in some low, barely audible range, stay there a while and then astonishingly slip into histrionics. His voice could jar a corpse, always leave you muttring to yourself something like, "Man, I don't believe it." His songs had songs within songs. They shifted from major to minor key without any logic. Orbison was deadly serious - no pollywog and no fledgling juvenile. There wasn't anything else on the radio like him.”

“I was always fishing for something on the radio. Just like trains and bells, it was part of the soundtrack of my life. I moved the dial up and down and Roy Orbison's voice came blasting out of the small speakers. His new song, "Running Scared," exploded into the room.Orbison, though, transcended all the genres - folk, country, rock and roll or just about anything. His stuff mixed all the styles and some that hadn't even been invented yet. He could sound mean and nasty on one line and then sing in a falsetto voice like Frankie Valli in the next. With Roy, you didn't know if you were listening to mariachi or opera. He kept you on your toes. With him, it was all about fat and blood. He sounded like he was singing from an Olympian mountaintop and he meant business. One of his previous songs, "Ooby Dooby" was deceptively simple, but Roy had progressed. He was now singing his compositions in three or four octaves that made you want to drive your car over a cliff. He sang like a professional criminal. Typically, he'd start out in some low, barely audible range, stay there a while and then astonishingly slip into histrionics. His voice could jar a corpse, always leave you muttring to yourself something like, "Man, I don't believe it." His songs had songs within songs. They shifted from major to minor key without any logic. Orbison was deadly serious - no pollywog and no fledgling juvenile. There wasn't anything else on the radio like him.”

“Only the lonely know the way I feel tonight.”

“Pretty woman, I don't believe you, you're not the truth. No one could look as good as you, mercy.”

“I may be a living legend, but that sure don't help when I've got to change a flat tire.”

“I close my eyes, then I drift away, into the magic night I softly say. A silent prayer, like dreamers do, then I fall asleep to dream my dreams of you.”

“But the thing I remember most about the screening in October twenty years ago was the moment Julian grasped my hand that had gone numb on the armrest separating our seats. He did this because in the book Julian Wells lived but in the movie's new scenario he had to die. He had to be punished for all of his sins. That's what the movie demanded. (Later, as a screenwriter, I learned it's what all movies demanded.) When this scene occurred, in the last ten minutes, Julian looked at me in the darkness, stunned. "I died," he whispered. "They killed me off." I waited a bit before sighing, "But you're still here." Julian turned back to the screen and soon the movie ended, the credits rolling over the palm trees as I (improbably) take Blair back to my college while Roy Orbison wails a song about how life fades away.”

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“Quotes is just quotes, cannot change your world if you not do think in that quotes, so just go and do anything...”

“Coming up with a useful, meaningful quote is getting more and more challenging each day....and you can quote me on that.”

“To me, quotes function as the sunscreen against a writers brilliance. As soon as I cannot stand to look at the magnificence of the acropolis of pure thought the writer managed to doll out in the cognizant chaos - I quote him, and by doing so I am discharged and freed. On the other hand, even while I do acknowledge that some things cannot be quoted, I vehemently distrust any writer whose army of quotes does not consist of impeccable warriors but the sort of bootless canon fodder that caused one to write in the first place, wishing to circumlocute that strappant lot. No writer can ever recover from bad quotes. I check the army of quotes, and if it has no sporting chance against a simple pack of butter then I will simply never ever read this person. One often hears short stories are the benchmark of great writers, but if you ask me, I'd rather first look at their quotes.”