William Goldman Quote

All aboard, the Sicilian said. (This was before trains, but the expression comes originally from carpenters loading lumber, and this was well after carpenters.)With that the Turk began to climb. It was at least a thousand feet and he was carrying the three, but he was not worried. When it came to power, nothing worried him. When it came to reading, he got knots in the middle of his stomach, and when it came to writing, he broke out in a cold sweat, and when addition was mentioned or, worse, long division, he always changed the subject right away.But strength had never been his enemy. He could take the kick of a horse on his chest and not fall backward. He could take a hundred-pound flour sack between his legs and scissor it open without thinking. He had once held an elephant aloft using only the muscles in his back.But his real might lay in his arms. There had never, not in a thousand years, been arms to match Fezzik's. (For that was his name.) The arms were not only Gargantuan and totally obedient and surprisingly quick, but they were also, and this is why he never worried, tireless. If you gave him an ax and told him to chop down a forest, his legs might give out from having to support so much weight for so long, or the ax might shatter from the punishment of killing so many trees, but Fezzik's arms would be as fresh tomorrow as today.And so, even with the Sicilian on his neck and the Princess around his shoulders and the Spaniard at his waist, Fezzik didnot feel in the least bit put upon. He was actually quite happy, because it was only when he was requested to use his might that he felt he wasn't a bother to everybody.

William Goldman

All aboard, the Sicilian said. (This was before trains, but the expression comes originally from carpenters loading lumber, and this was well after carpenters.)With that the Turk began to climb. It was at least a thousand feet and he was carrying the three, but he was not worried. When it came to power, nothing worried him. When it came to reading, he got knots in the middle of his stomach, and when it came to writing, he broke out in a cold sweat, and when addition was mentioned or, worse, long division, he always changed the subject right away.But strength had never been his enemy. He could take the kick of a horse on his chest and not fall backward. He could take a hundred-pound flour sack between his legs and scissor it open without thinking. He had once held an elephant aloft using only the muscles in his back.But his real might lay in his arms. There had never, not in a thousand years, been arms to match Fezzik's. (For that was his name.) The arms were not only Gargantuan and totally obedient and surprisingly quick, but they were also, and this is why he never worried, tireless. If you gave him an ax and told him to chop down a forest, his legs might give out from having to support so much weight for so long, or the ax might shatter from the punishment of killing so many trees, but Fezzik's arms would be as fresh tomorrow as today.And so, even with the Sicilian on his neck and the Princess around his shoulders and the Spaniard at his waist, Fezzik didnot feel in the least bit put upon. He was actually quite happy, because it was only when he was requested to use his might that he felt he wasn't a bother to everybody.

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About William Goldman

William Goldman (August 12, 1931 – November 16, 2018) was an American novelist, playwright, and screenwriter. He first came to prominence in the 1950s as a novelist before turning to screenwriting. Among other accolades, Goldman won two Academy Awards in both writing categories: first for Best Original Screenplay for Butch Cassidy and the Sundance Kid (1969) and then for Best Adapted Screenplay for All the President's Men (1976).
His other well-known works include his thriller novel Marathon Man (1974) and his cult classic comedy/fantasy novel The Princess Bride (1973), both of which he also adapted for film versions.