Quotes of All Topics . Occasions . Authors
When I look out at the people and they look at me and they're smiling, then I know that I'm loved. That is the time when I have no worries, no problems.
Show me a guy who's afraid to look bad, and I'll show you a guy you can beat every time.
Now when I look back to the Guildford of that time, it seems far more exotic to me than Nagasaki.
When I look back at the time that's passed, it makes me think that I'm actually quite a strong person.
The notion of time bothers me. You look at thirty-year-old photographs and realize how the time has passed.
That preconceived notion of me being inaccurate is completely false, and I look forward to changing that over time.
I have no idea what advantages I truly get, but I know people talk to me and give me time of day because they like how I look.
No one could possibly look all the time like my photographs. It is dreadfully hard to live up to them. They stare at me everywhere.
I spend most of my time at concerts hoping for that one second that the artist looks at me, I look at the artist, and that's when I get to say, 'Thank you.'
Everyone gets the impression that bodybuilders are narcissistic, and we look at ourselves in mirrors all the time. But that side of the sport doesn't appeal to me.
Every time I do photo shoots, my bottom lip and, like, my top lip are quivering because I just don't know how to look. Then the flash kind of makes me go boss-eyed sometimes.
I pick out young people and teach them in less time than it would take me to alter the methods of people from the boards, and I get actors who look the parts they have to fill.
People tell me all the time that I look forbidding or aloof. That doesn't bother me much - I am fairly private, withdrawn, and... distant, I guess. But, um, I think that's okay.
There's kids out there that like me, so why aren't I taking the time to give back to them? If they adore me or they look up to me, just to whatever extent, I've got to show them that I care about them as well.
Directors didn't know what to do with me in college. I didn't really sound like a belter. I didn't look like a soprano. But in New York, I was in the right place at the right time, where my unusualness fit the bill.
Being called ugly and fat and disgusting to look at from the time I could barely understand what the words meant has scarred me so deep inside that I have learned to hunt, stalk, claim, own and defend my own loveliness.
In school, I really felt like I didn't fit a type. I think everybody had a hard time putting me in a category. They all sort of realized, 'Hmm, you don't really look like a soprano. You're not really a character belter.'
The first time I was called up for Germany, it was Mesut who decided to look after me. He told me if I ever had any kind of problem, he would try to help me out, and that is exactly what he did. For sure, he helped me a lot.
People ask me where I'm from. I say Ireland, and they are like 'Really? You don't look Irish.' Then you have to explain... people are intrigued, but sometimes you think, 'Why do I have to tell my whole story every time I open my mouth?
I have a hard time figuring out what kind of box to put me in, too, because I don't know exactly what's going on around me or why. But I need to stay outside of boxes because then I can look at what's inside of them without being part of them.
I had an issue with dyslexia before they understood what dyslexia was. One of my teachers, Mrs. Anderson, taught me to look at it like a curveball. The ball breaks the same way every time. Once you get used to it, you can handle it pretty well.
And I realized, when I'd come in to the meetings with these corrugated metal and chain link stuff, and people would just look at me like I'd just landed from Mars. But I couldn't do anything else. That was my response to the people and the time.
I have days when I go to the gym and I can't push that 315, but then I look at my video of me benching 6 reps at 315, and I know I did do that. That wasn't a dream. That wasn't some weird fantasy. So I know that next time I'll go in and I'll do that.
People would read all kinds of reaction into it, but Tracy told me himself that half the time he was just standing very still, trying to look sober and composed. That takes nothing away from him. The fact he got away with it was a tribute to his talent.
When I realise that I don't have a lot of time left to do what I'm meant to do in terms of buying things, that's when things begin to feel Christmassy for me - when I realise that time is against me, and I've got to act; otherwise, I'll look ridiculous.
I don't go, 'I'm in the papers all the time,' because there are loads of people in the papers all the time. Sometimes I'm still like, 'Ooh, look- there's me!' I'm never like, 'Wow, look at me on the bus.' You have to be a bit grounded about things like that.
You've got to find ways to breathe while you're dancing so that when it comes time for you to stop and sing again, you have it. To prepare, I do a lot of aerobic activity. Many times at the gym, people will look at me because I'll be on the treadmill humming.
Personally, I need to learn every word on the page before I go in and audition. I have not mastered the skill of holding pages in my hand and acting with pages in my hand. I find that every time I have to look at the page it takes me completely out of the scene.
People ask me what I do in my spare time, and I look at them blankly, truly believing that I don't even have spare time, and if I did, I'd probably use it for something mundane, like chipping away at the mound of laundry rising to dangerous proportions in the back room.
When I was 20, my husband at the time looked at me said, 'You're fat; go run.' There weren't a lot of tools at the end of the '70s to lose weight. It took me a while to realize what kind of exercise would make me happy and I would look forward to doing. And running became it.
The English have a special sense of humour. This I immediately experienced in the dressing room. As I walked with two plates while eating, suddenly a team-mate asked me, 'Basti, what time is it?' hoping I would automatically turn my hand to look at my watch. That's quite entertaining.
I could be pretty volatile, especially when I didn't feel understood, which was 99 percent of the time. I do think that, as a young person, I suffered over that. But as I look back, it doesn't even feel like part of me - except when I act and need those emotions. Then I can dredge it up.
I began to learn about the camera and the actors. That gave me a lot of the skills. At the same time, advertising gives you a lot of vices, for example, an obsession for a superficial look, but at the same time, it gives you the capacity to synthesize the story - tell a story in one minute.
One day, the infielders were having a pretty bad time and were making some bad throws to me at first base. After digging a few out of the dirt, Joe Orengo called over to me, 'Atta boy, John, you look like a big cat.' Some of the writers overheard the remark and asked Joe about it later. The nickname has stuck with me ever since.
Most of the time it's the parents who recognise me. They try to tell their kids, 'Look, it's Giselle,' and I say, 'No, no, no, don't ruin this for them,' because I'm usually standing there with my hair sideways and no make-up on. And the kid is saying, 'That is not Giselle. No way. That is some worn-out girl who really needs a bath.'
