Quotes 23261 till 23280 of 25206.
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When I was living in Los Angeles, I always booked a moisturizing milk-and-honey massage the day before flying to Spain. It was heaven - I never got dry plane skin or felt stiff from sitting in one position.
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When I was nine, we moved to Stanford University in San Francisco so that my father could do a Ph.D. I went to Terman Junior High in Palo Alto. It was terrible, because my hormones were all over the place, and I became an ugly adolescent full of rage and loathing.
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When I was one-and-twenty
I heard him say again,
The heart out of the bosom
Was never given in vain;
'Tis paid with sighs a plenty
And sold for endless rue.
And I am two-and-twenty
And oh, 'tis true, 'tis true.Source: A Shropshire Lad (1896) No. 13, st. 2 -
When I was praised I lost my time, for instantly I turned around to look at the work I had thought slightly of, and that day I made nothing new.
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When I was probably 5 or 6, my mother put me into an acting, singing, and dancing class.
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When I was quite young, I put my trust in God — not government; and I never get the two confused.
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When I was research head of General Motors and wanted a problem solved, I'd place a table outside the meeting room with a sign: LEAVE SLIDE RULES HERE! If I didn't do that, I'd find some engineer reaching for his slide rule. Then he'd be on his feet saying, ''Boss you can't do that.''
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When I was seven, I was allowed to be an extra in 'Parenthood,' which was amazing. But then I kind of got addicted to it, and my parents didn't want me to want to act. They felt that would be putting your kid in an adult world.
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When I was six, the Korean War broke out, and all the classrooms were destroyed by war. We studied under the trees or in whatever buildings were left.
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When I was teaching at Harvard in the 1970s, I went to Project Incorporated in Cambridge and took photography classes. I didn't even know how to aim the camera in those days.
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When I was up in Washington state, I always thought, 'I'm going to go to Los Angeles where films are made and stories are told, and they're going to love me and welcome me with open arms.' But, there was no welcoming committee.
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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 young, I wanted to do something more low-key, like become a drummer in a rock band.
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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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