Quotes 1761 till 1780 of 4601.
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In fact, I really didn't get enthused about his Secretary of State race until I attended a couple of his rallies and found out there were a bunch of young folks that there were a bunch of young folks that he had been able to recruit on his own.
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In fact, I spent 25 years as a reporter, swearing I would never become an editor. Sitting at a desk, watching other people go out and find the story, and then fussing with other people's words - I just didn't get the appeal of that.
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In film or TV work, you can have this amazingly dramatic pause, and they'll just edit it out.
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In high school I had some famously egregious fashion missteps. I was really out there in fashion, I think because I wanted attention. I would wear crazy patterns, skin-tight pants and giant platform shoes.
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In high school, during lunchtime I would go in the room where the wrestling mats were and try different flips and different moves. Like windmills. I just started mixing martial arts with jazz and contemporary stuff and it would get mashed together and became my style.
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In high school, I worked eight hours a day just so I could get into the college of my dreams and say that I got in - and I never went.
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In Japan, you get on the bullet train or the airplane, and I loved the little speeches the stewardesses would do. They even do little speeches before you play gigs.
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In L.A., you can put out a craft-service table anywhere, and it's no big deal. But in New York, people who walk by it on the street get really angry about it.
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In levying taxes and in shearing sheep it is well to stop when you get down to the skin.
― Austin O'Malley
American writer, ophthalmologist and a professor of English literatur (1858 - 1932) -
In life, everybody faces choices between doing what's popular, easy, and wrong vs. doing what's lonely, difficult, and right. These decisions intensify when you run a company, because the consequences get magnified 1,000 fold. As in life, the excuses for CEOs making the wrong choice are always plentiful.
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In literature the ambition of the novice is to acquire the literary language: the struggle of the adept is to get rid of it.
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In Los Angeles you get the sense sometimes that there's a mysterious patrol at night: when the streets are empty and everyone's asleep, they go erasing the past. It's like a bad Ray Bradbury story - 'The Memory Erasers'.
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In Los Angeles, it's always nice out. In New York, it can be nice out or horrifying. You really have no idea what you're going to get on any given day.
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In making theories, always keep a window open so that you can throw one out if necessary.
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In matters of truth the fact that you don't want to publish something is, nine times out of ten, a proof that you ought to publish it.
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In medical school, it's quite possible to get taught that you can diagnose everybody and treat everything. But then you get out in the real world and find that for most patients walking through your door, you have no idea what's causing their symptoms.
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In Miami, I was studying improv as well as acting. Improv is a great tool to have, just for the comedic timing that you get. When I moved to L.A., I started taking classes with The Groundlings, and I loved it. I'm definitely in love with improv and comedy.
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In most horror films, you don't really get to understand why this character is the way he is.
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In movement class, you had to lie on the floor and get your alignment in to pass the class.
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In my case Pilgrim's Progress consisted in my having to climb down a thousand ladders until I could reach out my hand to the little clod of earth that I am.
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