Quotes 23341 till 23360 of 25274.
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When I was very young, I used to share much of what I wrote with my family, but as I got older and more self-conscious, it became a much more private process.
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When I was working in my first job engineering construction, what I liked the most was working with architects and making buildings that had this creative side coming from the architect and that were making them a big success.
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When I was working with Tom Ford, he would just look at me and ask, 'Will you wear it?' I'd say, 'Ah, too long, too short, lower waist, deeper V, unbutton' - that sort of thing. I don't create clothes, but I definitely know how to make them come alive.
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When I was writing 'Withnail,' I was so busted flat that I had one lightbulb that I would carry around the house with me. I mean, really. No furniture, no money, and I was hoping to be an actor, but I could never get a job.
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When I was writing the Destiny's Child songs, it was a big thing to be that young and taking control. And the label at the time didn't know that we were going to be that successful, so they gave us all control. And I got used to it.
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When I was young, I didn't want to do traditional painting and calligraphy. I deliberately wanted to separate from my father so I could feel I existed myself.
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When I was young, I used to wear a lot of wigs, and I was running on stage at a gig and tripped over and it fell off. It was in the 1970s, and Swansea were doing really well in the league, and most of the team were there. I almost died, but I picked it up, put it back on my head and carried on.
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When I was younger and did a stand-up gig, it would take me two weeks to recover. Sometimes I'd get so panicked that I would stutter.
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When I was younger it was twice a day with a game on the weekend. Then when I got older, three times a day everyday in college and on the national team.
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When I was younger, I'd be like 'Would you like to go to dinner' and the girl would be like 'Meh.' But then I was like 'Do you want to go with me for a drink somewhere?' and she'd be like 'Okay.
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When I went to L.A., I started modeling, hoping to travel and learn from photographers. It led to auditions to do commercials.
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When I went to live in South Africa, I immediately began to understand what went wrong. Because here was a place supposed to be under apartheid - I arrived there in 1991 - but here a black person had more say and had more influence over his white government than an average Kenyan had over the Moi government.
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When I went to the University, the medical school was the only place where one could hope to find the means to study life, its nature, its origins, and its ills.
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When I write a poem, I go into a state of self-forgetfulness, and something higher takes over; I like to call it my best self.
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When I write and develop things myself, I might work for a while on a script from a book, and then I go back and read the book and go back into it to see if I lost something: is there something there?
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When I write down my thoughts, they do not escape me. This action makes me remember my strength which I forget at all times. I educate myself proportionately to my captured thought. I aim only to distinguish the contradiction between my mind and nothingness.
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When I write my books, actually, I'm known for very logical rule-based magic systems. I write with one foot in fantasy and one foot in science fiction.
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When I'm dead, I want to be remembered as a musician of some worth and substance.
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When I'm deciding to read a book, I never open to the first chapter, because that's been revised and worked over 88 times. I'll just turn to the middle of the book, to the middle of a chapter, and just read a random page and I'll know right away whether this is the real deal or not.
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When I'm getting ready to reason with a man, I spend one-third of my time thinking about myself and what I am going to say and two-thirds thinking about him and what he is going to say.
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