Chance Quotes - Page 52

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If you don't have the good fortune to work a lot then you take any job you get offered, whether it's a good job, fun job, a bad job, horrible job, whatever, you just take what you need to take. But I'm lucky in that - at the moment anyway and hopefully forever, but who knows - I get the chance to pick jobs for the kick of it and the fun.

If Steinitz continually took pains to discover combinations, the success or failure of his diligent search could not be explained by him as due to chance. Hence, he concluded that some characteristic, a quality of the given position, must exist that would indicate the success or the failure of the search before it was actually undertaken.

The Financial Times is a wonderful publication, as is the Wall Street Journal and many others. But the new generation is consuming media fundamentally differently. At Business Insider, we have the chance to embrace that whole-heartedly. We do not have a print legacy, digital is not our second business behind a newspaper. It is our only one.

If you really want to know someone, you must see their emotions off guard. That's how I know Joan Crawford could never have been cruel to her children. I really knew her, when she was still Billie, as she liked to be called in the early days. In a relationship as close as ours, I had the chance to see her in every kind of personal situation.

There are so many intelligent former black players, guys like Luther Blissett and Cyrille Regis, who never got a chance to become a top manager or a top coach because of the perception that surrounds people who look like them. They are black - which, for many, means they are good athletes but incapable of being anything above and beyond that.

I just remember watching Federer the first year he won Wimbledon. He was struggling with his back problem. I remember it vividly. It looked like there was a chance he was not going to finish. He had that look in his eye. Then, somehow, he found the wherewithal to dig a little deeper, and suddenly he wins the thing, and he's a different player.

There are roles out there I want to play that I don't know if I'll ever get the chance to. But I'm not going to waste time waiting for those phone calls, passing up the chance to do these sorts of things. I'm more likely to go see a smaller, darker indie film, like Felony for instance, than I am to see an Avengers or perhaps even a Terminator.

For seven years, I have been hearing repeal and replace from Congress. And I have been hearing it loud and strong. And then, when we finally get a chance to repeal and replace, they don't take advantage of it. We will let Obamacare fail, and then the Democrats are going to come to us and they're going to say, how do we fix it, how do we fix it?

The more I come to know about the outside world's perception of China, the more I feel there are all sorts of misunderstandings, and to a certain extent, people do not get the full picture from the media. A lot of foreigners have few opportunities to visit China, and a lot of Chinese people do not have the chance to go to Europe or to the West.

Marathon running, like golf, is a game for players, not winners. That is why Callaway sells golf clubs and Nike sells running shoes. But running is unique in that the world's best racers are on the same course, at the same time, as amateurs, who have as much chance of winning as your average weekend warrior would scoring a touchdown in the NFL.

You can very often start a new season with a lot more viewers than you had, leaving off the season before. It's a chance to pull the show into a train station, stop the train, and let all these new viewers on, so you can tell a new story. In some ways, a second season is a chance to tell a brand new story that you can wrap up, at the end of it.

I always loved movies, but I never thought I would presume to be a screenwriter and definitely not a director. I spent a lot of time for no money trying to teach myself how to write a script. It always felt like everybody was looking the other way and sneaking that script through the system, but it did well later on video and got another chance.

At a certain point, if you still have your marbles and are not faced with serious financial challenges, you have a chance to put your house in order. It's a cliche, but it's underestimated as an analgesic on all levels. Putting your house in order, if you can do it, is one of the most comforting activities, and the benefits of it are incalculable.

Synthesis..., perhaps in greater measure than activities in any other area of organic chemistry, provides a measure of the condition and power of science. For synthetic undertakings are seldom if ever undertaken by chance, nor will the most painstaking, or inspired, purely observational activities suffice. Synthesis must always be carried out by plan.

Making a show is also economics. Because the irony is, or the shame of it is, you cannot create a show instantaneously. It needs to be massaged. You need to see who is relating to who. How is it working with the audience? You need to give it a chance for the audience to find it, because there are so many outlets. And the audience doesn't know where to go.

She was humbled, she was grieved; she repented, though she hardly knew of what. She became jealous of his esteem, when she could no longer hope to be benefited by it. She wanted to hear of him, when there seemed the least chance of gaining intelligence. She was convinced that she could have been happy with him, when it was no longer likely they should meet.

I don't know if I can handle living in Tokyo. I feel like the culture shock would be so intense, especially with the service industry in America - you can't make up for that. Once you get a chance to travel a lot, you start to realize when that waitress comes back and asks you if you want some more to drink, that's an important moment. Nobody else does that!

I can't really recreate or reconstruct exactly how or from where any of my characters originate, young or old, though chances are at least decent that once I name and begin to know them, young or old, I can then attempt to reveal each as psychologically complex and nuanced, and to speak through them, as William Matthews says, "What it feels like to be human."

Every man, in proportion to his virtue, considers himself, with respect to the great community of mankind, as the steward and guardian of their interests in the property which he chances to possess. Every man, in proportion to his wisdom, sees the manner in which it is his duty to employ the resources which the consent of mankind has intrusted to his discretion.

It makes it very easy. I have a beginning, middle, and end, and I don't film for long - about 20 hours usually for a two-hour film - so it's easily watchable in a week for me and the editor. Once I know who the characters are, I only film those characters, unless somebody else forces their way into the film by a scene happening to them or we meet them by chance.

Why? Why did you do this to me?" "He's going to come after me. He won't just kill me. He'll go after you, too." "That's right, He can't take the chance. I didn't tell you about it...why?" He repeated on a sob? "Why did you-" You wouldn't take me to New York" His mouth dropped open "NEW YORK?" he shouted. "You did all this because I wouldn't take, you to New York!

My observation of the Universe convinces me that there are beings of intelligence and power of a far higher quality than anything we can conceive of as human; that they are not necessarily based on the cerebral and nervous structures that we know, and that the one and only chance for mankind to advance as a whole is for individuals to make contact with such beings.

When you go through life ... it all seems accidental at the time it is happening. Then when you get on in your 60s or 70s and look back, your life looks like a well-planned novel with a coherent theme ... Incidents that seemed accidental, pure chance, turn out to be major elements in the structuring of this novel. Schopenhauer says, 'Who wrote this novel? You did.'

Sometimes you look at a painting and certain parts are so beautiful. You say, "Wow, this is fantastic," but 10 minutes later you most likely have to kill it. Every painting wants to live. You want to build and bring this type of painting to the climax. When it's at the highest point, you want more. And then if you want more, you might destroy it. So you take a chance.

There's a reason why every successful person in Hollywood has like seven or eight projects up in the air at any point. It's like a 90 percent chance for each project that it'll never happen. Every project has about a 10 percent chance of getting made, unless you're like a Quentin Tarantino or somebody who just gets whatever they want to get done. But those are the rare cases.

Whenever any argument comes up, you remind her, "You cheated on me." Your relationship has no chance. You agreed to set it aside. You accepted that it happened and you accepted her explanation and you agreed to move forward, but then as you move forward, you continue to lay that off on her, and you never let her forget. Your marriage doesn't have a chance, if you don't let it go.

Why had I been so afraid? I had not loved enough. I'd been busy, busy, so busy, preparing for life, while life floated by me, quiet and swift as a regatta...I had had all my time, all my chances. I could never do it again, never make it right. I had not loved enough...I had not passed up all my chances to give love or receive it, and I had the future, at least, to try to do better.

I know that there are scores of people plotting to kill me, and this is not difficult to understand. After all, did we not seize power by plotting against our predecessors? However, I am far cleverer than they are. I know they are conspiring to kill me long before they actually start planning to do it. This enables me to get them before they have the faintest chance of striking at me.

I play knowing that there is somebody watching me out there in the crowd that has never had the opportunity to watch a game before and it might be the only chance they ever to see one, live in person. Michael Jordan once said that in an interview, and I really took it to heart, when ever I step on the floor I play for that person. Also, I always know my grandfather's out there watching.

It's kind of ironic that when you look at the evidence of intelligence and so on, a lot of it is anecdotal. A lot of it is, "Well, we saw this dolphin do this extraordinary thing," or, "We screwed up with our apparatus, and then the dolphins did this." And so it seems to me that the more we can actually watch them doing their thing, the better chance we'll have of making some sense of them.

I have no fear; I have nothing to lose. I'd rather burn out than fade away, and I would rather go out in a blaze of glory on my own terms than let anybody dictate anything to me in my career. I had the chance to wrestle The Undertaker [on Smackdown in 2013], and one thing I took away from it was that he looked me in the eye and said, 'Trust your instincts because you've got great instincts.'

Wasn't that a wonderful thing that I had a chance to work with more great actors, big stars, than just about anyone in the history of Hollywood? And some days I didn't know with whom I'd be standing face-to-face, and I was so impressed because they were all really wonderful people. And when you work with Burgess Meredith, Frank Gorshin, George Sanders as Mr. Freeze, it's a wonderful experience.

There is no observation more frequently made by such as employ themselves in surveying the conduct of mankind, than that marriage, though the dictate of nature, and the institution of Providence, is yet very often the cause of misery, and that those who enter into that state can seldom forbear to express their repentance, and their envy of those whom either chance or caution hath withheld from it.

It's difficult to put your own bare ass out on the limb every time you sit down to write a poem. But that's really sort of the ideal. Because if we don't discover something about ourselves and our world in the making of a poem, chances are it's not going to be a very good poem. So what I'm saying is that a lot of our best poets could be better poets if they wrote less and risked more in what they do.

Snowpiercer has both [optimistic and pessimistic]. It was essentially optimistic. The most pessimistic was my part, because of his knowledge. He knows how it started. The status quo, he knows, has to be maintained, otherwise there is no chance. He knows that this revolution is completely understandable and is also commendable. He also knows the negatives. In the end, that's not a very positive position to be in.

We see that Pakistan is continuing to provide safe harbor havens inside of Pakistan for terrorists who present risks to the United States of America. We are doing our best to inform the Pakistanis that that is no longer going to be acceptable. So this- this conditioned aid, we've given them a chance. If they fix this problem, we're happy to continue to engage with them and be their partner. But if they don't, we're going to protect America.

Twenty-eight to 31 is the tough period. You have to be really careful because it's so cataclysmic, so life-altering. People do really dramatic things like get married, or they'll get divorced. Your chances of committing suicide go way up. It's basically psychic death. You see the signs of it around 27, and you're still on the out-end of it around 31. Everyone I've talked to who's gone through that and come out the other side walks out of it like, "MY LIFE IS GREAT".

The threat of a government shutdown has caused the Republicans and Donald Trump, as of now, to delay the funding for the wall until the fiscal year 2017-18 budget year, which will happen in September. This has the potential of bothering some Trump supporters. This is not nearly enough callers to make any kind of scientific statement, but every caller we took on said - delaying the wall is not what I want. The more you delay it, the greater the chance it isn't gonna happen.

I haven't had anything said to my face. ... I don't know what goes on behind closed doors. I did understand it was out there. That's one of the reasons I like my partnership with Secret and calling the NFL: It's a chance to break through some barriers by showing what you can do, as opposed to telling people what you can do. That's the approach I prefer to take: Let me prove to you that a woman is capable of doing this. Then, hopefully, you won't have to ask that question ever again.

When you go for something because you're curious about it, you get psyched up about the chance of getting into it. It's like an actor meets a role, and you slip into that body and see what happens, to experience certain conditions, to adopt a certain character. Even shooting is a study of the character. I think both the character and the actor, and eventually the filmmaker - myself - are finding a way to accept their environment and being accepted and feel comfortable of themselves.

Wij wezen allles wat kopie of beschrijving was af en lieten het elementaire en het spontane in volle vrijheid reageren. Omdat de plaatsing van de vlakken en de kleuren en de verhoudingen van deze vlakken louter op toeval schenen te berusten, verklaarde ik dat deze werken, zoals in de natuur, gerangschikt waren "volgens de wetten van het toeval", toeval dat voor mij alleen maar een beperkt onderdeel vormde van een onpeilbare reden van bestaan, van een orde die in zijn totaliteit ontoegankelijk was.

Sometimes people don't rehearse at all, but you might have had a chance to rehearse for a few days, or even more than that. Then in the moment when the camera's running is the only time it matters. So whatever you've discussed or thought about or discussed with the director, the other actors, hopefully there's a part of the experience that you've left open so that only in that moment the camera catches it. That's of course the hardest thing to do because everything is planned and you have thought about it in advance.

I had the chance to play with a ghost of the museum. The function and the institution are gone - it's closed - but there is still the building. I was looking for something between an experiment and an extended ritual. I asked 15 actors to be in this museum and take the position of the museum's personnel. I put this small group under certain conditions and influences, interpreted by another group of actors or by real professional performers, like a magician, a psychic, a model, a hypnotist, a singer, a psycho-dramaturge.

Chance in music doesn't have to involve the I Ching or rolling dice or throwing yarrow stalks. It can involve an out-of-tune guitar, or other impossible-to-replicate moments of awkwardness - even more so than an awkward, out-of-tune live performance, because there's something incredible about the way that an out-of-tune guitar becomes part of the song on a record. I won't be precious and say it's part of the composition - that's nonsensica l - but chance occurrences are so crucial to what's distinctive. It's the fingerprints all over so many of these recordings.

A centerpiece for any kind of progressive social and economic program needs to be full employment with decent wages and working conditions. The reasons are starting with money. Does someone in your family have a job and, if so, how much does it pay? For the overwhelming majority of the world's population, how one answers these two questions determines, more than anything else, what one's living standard will be. But beyond just money, your job is also crucial for establishing your ability to raise a family, and your chances to participate in the life of your community.

Every story has a point of view and whether it's by what one chooses to include or exclude from a story or whether it's a very specific agenda that is pushed, there is no such thing as objective media. Once you realize that it's more than just a marketplace of ideas, it's a battleground of ideas that are suppressed and the ideas that are pushed forward in the mainstream media are the ones that independent media has a chance to address. I think that the democratization of media in that way can be very helpful in allowing the truth to come out in a way that it might not on CNN or FOX.

I don't need to control the mind of my viewer. Now this might sound contradictory because I want to make these installations set up an environment that will produce a certain kind of experience in the viewer, but beyond a certain point, I take hands off and leave it up to chance and personal experience. So maybe it's a marriage of control and no control we're talking about where the artist produces the artifact or the environment and then walks away from it, and the second half of the equation is the viewer and their personal history and how they feel about what they're experiencing.

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