Quotes of All Topics . Occasions . Authors
I just keep doing me and representing the sport the right way.
I'm not an artist or a collector. I'm a skateboard kid with no one to tell me if I'm not doing things the right way.
I try and make all my songs sound different from each other while doing it in a way that's still me. It's a tricky thing to do.
There's no way to really mock up or simulate what I'm doing until I'm there. An exhibition for me is not a statement but an experiment.
I often find that having an idea in my head prevents me from doing something else. Working is therefore a way of getting rid of an idea.
The way 'Showgirls' was presented to me, it sounded like an interesting project, and it kind of just went off the rails as we were doing it.
But it seemed to me that the American way of doing things was to obliterate a complete area, without really knowing exactly what was there and where they were.
I know quite a few eco designers who build dresses out of old couture gowns. They disassemble, 'upcycle,' and reuse them in extraordinary ways. To me, that's a sustainable way of doing things.
I think my career has been instances of me trying to figure out ways to get around doing it the right way because I don't think I have the tools to do it the right way. There's a talent to that.
I knew that the only way to get noticed would be by doing something that was not expected of me. I was sure I wouldn't get noticed if I continued to play the heroine in films like 'Chashme Baddoor.'
I've been writing way before 'X Factor,' and I've been doing shows before 'X Factor.' And everything I did on this show was me being me. Same way I acted in the show is the same way I act now as an artist.
I found out some of the spots on the floor that I like to shoot - do my little floater shots, my pull-up shots, being able to get all the way to the rim. By me doing that, it's kind of opened up my 3-point shot.
It's kind of a rule of thumb for me to self-doubt going into any kind of project. I always think that I shouldn't be doing it and I don't know how to do it and I'm going to fail and that I fooled them. I always try to find a way out.
I got way more songs with Key! than Greedo, but I met them via each other, they Facetimed me at 6 A. M. in Atlanta, wearing sunglasses. Key! said, 'You and Greedo doing a whole project.' And I was like, 'Alright.' Then they hung up on me.
Will Rogers wasn't helpful to me at all. He was just concerned with his way of doing things. He didn't like me much because I used to wear slacks to the studio, and that was not done much in those days, so I guess he thought I was rather fast.
I write easily, let's put it that way. And in a novel particularly, the characters take over. And they tell me what to say and they tell me what they're doing. And I'm a third of the way into a novel and then I just let the characters finish it for me.
There was a guy I found incredible in training. A player I thought 'What is he doing? Is he only 18 or 19?' That player was Mario Gotze. He did things in training that made me think 'Wow. If he doesn't make it all the way to the top then I don't know!'
In the periods of my career when I stopped passing the ball forward or when I stopped looking for the risky pass that might open up a defence, the consequences were the same. The manager stopped picking me. I got back into the team when I went back to doing it the way he wanted.
I think that educators are in sales. Essentially, what you are doing is making an exchange with your class. You're saying, 'Give me your attention. In exchange, I'll give you something else.' The cash register is not ringing. It's not denominated in dollars or cents or euros, but it is a form of sales in a way. It is an exchange.