'Love Tattoo' I recorded without a record company. I'd gotten turned down by the record companies -- they said they didn't get me, which is fine, I suppose.
'Love Will Tear Us Apart' is very simply written.
'Love and Terror on the Howling Plains of Nowhere' took me six years to write.
'Love is a myth,' Grandfather Trout said. 'Like summer.'
'In winter,' Grandfather Trout said, 'summer is a myth. A report, a rumor. Not to be believed in. Get it? Love is a myth. So is summer.'
'Love' has that Kubrick tonality to it, but this is not a Stanley Kubrick movie -- there will never be another. At the same time, 'Love' has a modern feel. For example: In one scene, these astronauts go through a wormhole sequence, and you feel like you're being slapped around inside your head by a sonic boom.
'Love' is so short of perfect rhymes that convention allows half-rhymes like 'move.' The alternative is a plague of doves, or a kind of poem in which the poet addresses his adored both as 'love' and as 'guv' -- a perfectly decent solution once, but only once, in a while.
'Love, Death and the Changing of the Seasons' is a kind of novel in verse about the arc of an urban lesbian love affair -- and I suppose there is a certain amount of voyeurism in the consumption of fiction! The 'Sancerre' poems here are more contemplative and about the relationship of the individual to local and wider histories.
'Lovejoy' has a special place in my heart because it was through my efforts that the series first came to the screen.
'Lovelace' was really great. I got to work with the wonderful Amanda Seyfried, Hank Azaria and Peter Sarsgaard, so it can't get no better than that, right?
'Lovelace' was really great. I got to work with the wonderful Amanda Seyfried, Hank Azaria and Peter Sarsgaard, so it can't get no better than that, right? I had a blast, and the film is a very, very well put together movie -- from the director to the writing the cast.
'Lucha Underground' is a combination of new psychology, new moves, and a new take on wrestling: an evolution of wrestling. In my opinion, it is entertaining. It is the kind of wrestling I want to watch. It is the kind of stories I want to tell, which is why I intend to be part of it.
'Lucha Underground' is like a combination of Lucha Libre, American Pro Wrestling, and gridy action films. It's got a lot of things I like -- action, wrestling, and really good storytelling.
'Lucha Underground' is the evolution of wrestling. It's high-style, high-flying, fast-paced hybrid style wrestling, and we're actually paying homage to lucha libre for the first time.
'Lucha Underground' really is the first episodic professional wrestling show. There are storylines in every promotion, but the way 'Lucha Underground' is crafted really is more of a TV show than your traditional wrestling show.
'Luchadores, mil mascaras'... a thousand masks. I see a lot of those in Jets colors. And then the Hispanic fans of other teams, they'll wear them in their colors. And they're like, 'You're our guy, Sanchez, but I'm a Steelers fan.'
'Luck' is recognizing when the situation encourages build out and execution.
'Lucky Man' I wrote when I was twelve years old. I wrote it when I first was given a guitar by my mother. I only knew four chords, but I used them all to write that song. And it just stayed with me, stayed in my head. I didn't even write it on a piece of paper. I remembered it.
'Lucky Us' ends with a description of a photograph of the novel's fictional family. I could never get enough of my own family photo albums.
'Lucky' is for laughs, and there's really nothing funny that I'm doing on 'Dexter.' I think more than anything, both comment on the fact that anybody is capable of anything. Just because they are the shy guy in the corner doesn't mean that they are a harmless little bunny.