Sort Quotations | Page 2

They put all this money into these huge films and then no one goes to see them. That sort of shows they're out of touch. Then everyone in town passes on my little movie and it does really well.

So it really does have a sort of bittersweet quality. Kids like to have adventures and to believe they can fly, but there's also that fear about people leaving you.

People really are looking for this perfect sort of dream person, but it's hard to go out every night or make the effort to meet people in your hometown, if you haven't already met them all. Online there's this infinite possibility of meeting this person who, no matter where they live, you're meant to be with.

I was a crazy Pee-wee Herman fan when I was in my early teens. Before he had the kids' TV show, he had a nightclub show in L.A., and I had gotten a VHS copy of it. It was a kids' show, but onstage in a bar, so it's sort of poking fun at the kids' show. And I was obsessed with that, and then 'Pee-wee's Big Adventure.'

When you are a kid, a wolf is an amazing sight, so sumptuous. I sort of knew these were splendid creatures, that I was not going to find them outside roaming around. It was like a dog, but not a dog. It was incredible, a god!

I think, you know, when you're a teenager, sometimes your emotions are a little bit more drastic than maybe when you're in your 20s. You sort of level out a little bit.

Writing is a little athletic for me. I get worked up a little bit when I do it. So I guess I'm a little bit like that composer conducting. There are a lot of things that go into what I do, but I think athletics really sort of shaped my ethic.

The thing is: in order to reach an agreement, to reach that balance, sometimes it is sort of like that old Rhinestone Cowboy lyric, 'There'll be a load of compromisin' on the road to my horizon.' For those of you who were too young, or don't recall the song, made famous by country singer Glen Campbell, it is your loss.

When I was thinking of people for the Space Twins, I wanted people who were sort of space cadets in the first place. I consider myself to be one.

The one thing that is sort of sneered at and not really believed is bisexuality. Any bisexual man is just seen as a closeted gay man. That shows how narrow-minded people are. The other thing that's totally neglected and which nobody approves of is celibacy. People again assume that you're just repressing something.

I'm really boring. I get up early. I go to bed early. I don't smoke or drink. I mean, I'll eat a cupcake. I'm just not a crazy, stay-out-all-night sort of person. I love writing.

I'm actually quite a nice person. It's to do with the way I look, an uncompromising sort of face, brusque delivery and voice, and I think the combination of all that. When I'm doing pantomime, children will scream the place down before I open my mouth. There's obviously something that really gets them.

I think I started writing about identity, and I used to believe that identity is the story. But now I'm not so much subscribed to that. I mean, with 'Mr. Fox,' it has a feminist agenda as well. And so, as I sort of been away from writing about identity, I still feel that kind of tug of roots and, you know, cultural background.

I don't know that the best way to approach it is to try and keep up. When you're doing that, you're setting yourself into a one-dimensional sort of race basically.

I don't know if younger poets read a lot of, you know, the poets - the established poets. There was a lot of pretty boring stuff to sort of put up with and to add to, to make something vital from.

I can't imagine not joking even at the worst of times. And for me, it's sort of automatic.

I like to think of the world as a sort of a casino, except the house doesn't have the advantage. If you're smart, you have an advantage. It behooves you to place a lot of bets.

I like humor: the sort of gentle humor that points out human foibles.

I can feel the public side of my life and the private side of my life sort of drifting away from one another.

My general sensibility is most certainly comedic. But when I signed with my manager, he said, 'I think you could do dramatic stuff as well.' So, rather than making the choice to do it, I sort of agreed and deferred. By no means does it feel close to home, but I was willing to explore it.

When I thought about Detroit, I would think big city, very urban - not a lot of places to walk around, not a lot of parks. I sort of pictured Manhattan almost, where, besides Central Park, it's all city and big buildings. But now that I'm here, you see people pushing strollers, people hanging out in the park.

If you ever face a significant disaster, do your best to keep up the spirits of those around you, act flexibly and creatively to help, try to sort rumors from truth, and remember that the decisions you make will have repercussions after the disaster has passed.

I can't point to my work and say, 'This is my work.' My work lives in me, so when people criticize my work, they're also criticizing me. It's really hard to sort of divorce that sensitivity.

The nearest the modern general or admiral comes to a small-arms encounter of any sort is at a duck hunt in the company of corporation executives at the retreat of Continental Motors, Inc.

Live albums are very important for Rush, and they became sort of a closing chapter for us.

I'm instinctively very suspicious and guarded, and I try to counteract it so much. I find reason allows you to be open, and my only sort of ambition in life is to try and be as open as possible.

My worst job ever, this was when I was a kid, was picking potatoes on the back of a trailer in March. It was freezing, absolutely freezing. We had to sort the good ones from the bad ones. Once you do that for a day in March in the north of England, it makes you think there must be better jobs than this!

That ability to take in your surroundings and sort out the important stuff, to be aware, to be vigilant. Then take all that information, put it together, and see if it makes sense to you.

'St. Trinian's' is probably taking it to the extreme, but in essence it's saying, 'If you be yourself, you can do whatever you want,' and it's sort of a fun message.

I've had probably way too many acting classes, and you try to sort of shed - I think over a period of time, you'll shed what doesn't stick with you, and you'll hang onto those things that do.

I definitely learned to appreciate there is something about looking good. I think it's been sort of lost in the last 50 years, this idea of looking very nice and very put together.

When I write, I have a sort of secret kinship of readers in all countries who don't know each other but each of whom, when they read my book, feels at home in it. So I write for those readers. It's almost a sense of writing for a specific person, but it's a specific person who I don't know.

I think it's no coincidence that people who are good at writing far-out fiction are also good at meta-fiction. Think of all the best Phillip K. Dick stories, where you experience a sort of dislocation, and suddenly what you think you've been reading is, in fact, something else entirely.

The 'Gossip Girl' idea and ideologies, like, they sort of encourage this certain kind of, like, materialism and superficiality that isn't, I would say, the best thing in the world.

As a Marvel fan who grew up with 'The Avengers' and 'Ant-Man' and everything, I definitely have my own sort of feelings about what I want to see as a fan in an 'Ant-Man' movie.

I'm obsessive. That's the word for me. I obsess - perhaps to the point where it's moderately dysfunctional. I tend to put a book through about 100 revisions. If anything, that's an understatement. If there's another author out there who does this sort of revision, I would really like to meet him. Maybe we could form some sort of support group.

I kind of miss the hatchet days of Mr. Fairchild at 'WWD', when they really took no prisoners and there was sort of outrageous favoritism and its inverse.

What sort of person you grow into should not be achieved by default, and often that's exactly what happens to kids. I see literature as a method of guidance, information, and contemplation, and consider it the greatest compliment possible when a reader tells me that a book of mine really made him/her think.

Half of acting is you're very intimidated, overcoming your fears, letting yourself be vulnerable in front of people and that sort of stuff.

I think Dogme was inspiring for quite a few peoples and sort of started a digital movement. Personally, I found it extremely uplifting and fantastic making Dogme movies, but I felt I completed it with 'The Celebration.' I think that was the end of the road on Dogme for me. It was as far as I could go.

I'm very much influenced by your traditional comic book artists like Jack Kirby, Alex Toth and Walter Simonson. Their styles were sort of what I was gravitating towards.

My father's name is Dee, so when I was born they named me Katherine Dee and they took the K from Katherine and put it with his name, sort of to give me my dad's namesake. But it's hysterical how often it gets misspelled. I used to be like, 'No one capitalizes my D!'

If you have a life which is adrenaline-charged all week long because you're a powerful CEO, or you have responsibilities and you're committed to the people you look after, it's very difficult on weekends to sit around the garden. So you probably look for something which gives you the same sort of adrenaline buzz.

As chief scientist, it's sort of my job to look at bridges between what we do and to see the connections. But when we try to understand how are planets around other stars habitable... to looking back at the Earth - how are the changes that are taking place, how are they going to affect humanity?

'Survivor' was, to me, an absolute reaction that the audience was having to the sort of staid nature of narrative drama on television.

Working out for me is something I do when I feel like it. But it's really about feeling good and taking care of my body rather than having to fit into any sort of model or anything like that. I try to eat well, and everything I do is really just to make me feel my best so that I can come to my job or my personal life and just feel really good.

I grew up in the Midwest, so I have sort of an honorable moral code. But I moved to a city and joined a sort of fast crowd. A lot of people who grew up in the city sort of aren't aware of manners and other ways of life and 'common decency.'

I think in any relationship, even in the healthiest of relationships, we are all parents to each other at times. I think that's a normal, healthy sort of relationship. I think there are times when we're each a mother and a father when we need to be.

A friend of mine introduced me to Thurston Moore because she thought I would like him. He was playing with the tallest band in the world, the Coachmen. They were sort of like Talking Heads, jangly guitar, Feelies guitar. Anyway, it was love at first sight. His band broke up that night. And we started playing.

So I was always passionate about it and felt that it was sort of the golden thread inside me in terms of what I was supposed to do in terms of work but I think I have relaxed a lot in terms of the actual experience and actually enjoy it more and enjoy the people more.

It used to be the one or the other, right? You were the 'bad girl' or the 'good girl' or the 'bad mother' or 'the good mother,' 'the horrible businesswoman who eschewed her children' or 'the earth mother who was happy to be at home baking pies,' all of that stuff that we sort of knew was a lie.

Whereas in the past optimism had been regarded as rather shallow - because 'oh well, it's just your temperament, you happen to be just a cheerful sort of person' - what I wanted to do was to establish that in fact it is the pessimists who are allowing all kinds of errors to creep into their work.

When you get to the point where you know the material so well and you know the character so well that you can just sort of play off of whoever your reader is - that's the best feeling at an audition.

I think if you hold your nerve and don't sell out and become something that you're not, you can go anywhere. You know, I think that sort of heart and honesty and size travels.

As a painter, it seemed easier to sort of disappear.

Baseball would be a quite remarkable activity if it was the one place in the world where your co-workers didn't have any impact on how productive you were. But in fact, baseball is a high-stress occupation, and those sort of stress-inducing activities... just have a huge impact on how the team functions, I think.

Generally speaking, companies get into bankruptcy as a kind of meritocracy. Somebody made some sort of big mistake, to get into bankruptcy, and very often, a part of the mistake is too much leverage.

We had a very normal, sort of ghetto, urban upbringing. My father was a bus driver and my mother was a seamstress and a substitute schoolteacher, off and on. So, that all adds up to no money.

I don't feel I have an issue with listening or understanding English in any sort of way.

After working for a while, I realized that acting was only satisfying about 30 percent of what interested me about the filmmaking process. Somewhere around age seventeen, I started to realize that if I'm very particular about the people I work with, then I can have the best sort of master class possible.

I never had the slightest desire to be a major league manager, and all knew it. But Ban Johnson, Bob Hedges, and Jimmy McAleer persuaded me that the Browns were in a sort of a jam, and it was up to me, as an old standby, to do what I could.

Because I have sixty years of being a professional composer, conductor, musician, whatever, and you develop a lot of friendships and you get involved with a lot of sort of long-term commitments and obligations.

Success is a sort of metaphysical experience. I live exactly as I did before - only on a slightly bigger scale. Naturally, I won't be corrupted. I'll sit there in my Rolls, uncorrupted, and tell my chauffeur, uncorruptedly, where to go.

My parents are very lovely people - the sort of people that one should aspire to be like, really.

I think self-criticism is sort of a given when you're an actor. It's also about being curious and not being flippant. Anyone who accepts being in this noble profession is automatically self-critical.

I don't see myself as an artist, as a writer. The sort of writing that I do, which is popular fiction, it's work. I have contracts to fulfil, and I have deadlines to meet.

It's a funny thing when you think you're dead. You're not terrified of it anymore. There's a sort of a epiphany to religious thing; it's not sort of church-based, but you end up with a serenity which you didn't have before, and I just simply enjoy it. It really does sound stupid, but I've got to tell you it's made my life.

A lot of these roles that I feel like I've had some sort of impact, or that have had an effect on me, have always been with directors who have the time to somehow get to know me. Any good director's going to be curious about who it is that's coming aboard.

The worst thing is always thinking of titles for records, with some reason behind them, and she just came out with the word, which she thought was a good word, a hard word, and since then we've sort of attached loads of meaning to it.

I feel that Jane's is really a vibe and a time. It wasn't like we were the Beatles. We didn't have crafty pop songs where it sort of didn't matter who played them because they're just really great songs.

It's almost a blessing when we meet people who naturally want to do the sort of things that are in high demand in society. What a gift to do that, as opposed to other people who would say, 'I want to be a novelist but actually I have to be an accountant.'

It is probably the case that some regulation of financing will make crises less likely, and I would say higher capital requirements are an almost fail-safe way to make banks safer. But there are a lot of other things that may not be doing that, and so we need to be careful about sort of, like, rushing to one conclusion or another.

What makes most people comfortable is some sort of sense of nostalgia. I grew up in a small town, and I could count my friends on one hand, and I still live that way. I think I'll die in a small town. When I can't move my bones around a stage any more, you'll find me living in a place that's spread out and rural and spacious.

I boldly assert, in fact I think I know, that a lot of friendships and connections absolutely depend upon a sort of shared language, or slang. Not necessarily designed to exclude others, this can establish a certain comity and, even after a long absence, re-establish it in a second.

A lot of times in movies, especially in sequels, the characters become caricatures and just sort of improv machines and joke machines, rather than people you can actually connect to.

I like to think of myself as the people's pop star a little bit. I respect Lady Gaga so much, and I love what she does, but she has this kind of mysterious, out-of-reach thing. I'm just not that - as much as I'd love to have that sort of mystique, I think I'm kind of an open book.

I wasn't sure if I wanted to put that out there so blatantly, so that before you listen to me you know that I'm Asian. But I thought it was sort of cool to embrace the Korean half of me, which I love.

I'm not precisely saying that a really good board meeting at the MLA (Museums, Libraries and Archives Coucil) makes me want to go and write poetry, but there is a pleasure in doing that sort of thing well.

Whether it's a 16-year old girl, or a mom, or a guy, or anybody, as long as they come up and they're excited to meet me 'cause they've had some sort of relationship with something I've created, it's the coolest thing ever. It never gets old. It's awesome.

I didn't feel the tusk go through me. But I did feel this sort of freight elevator coming down, popping the chicken bones, you know. It blinded me. Everything was black. It was bright noon day sun. You mustn't get walked on by elephants.

The body moves through space every day, and in architecture in cities that can be orchestrated. Not in a dictatorial fashion, but in a way of creating options, open-ended sort of personal itineraries within a building. And I see that as akin to cinematography or choreography, where episodic movement, episodic moments, occur in dance and film.

What I would love is a crossover between 'Royal Pains' and 'Burn Notice,' that we could be involved in some sort of gun play intrigue. I would really love that because we have no guns. We have nowhere near enough explosions and guns on the set.

I feel like some sort of fiction-writing hobo, jumping trains and always hoping I'll find a good place to start a fire in the next town. And I keep having these panicky episodes where I corner my husband and rant at him: 'I don't have anywhere to write! I can't write! I don't have a place to write!'

In a gas, motion has the upper hand; the atoms are moving so fast that they have no time to enter into any sort of combination with each other: occasionally, atom must meet atom and, so to speak, each hold out vain hands to the other, but the pace is too great and, in a moment, they are far away from each other again.

But I absolutely believe that architecture is a social activity that has to do with some sort of communication or places of interaction, and that to change the environment is to change behaviour.

I think that's what happens when you get scared, and you're rushing, and you don't have time. Rather than cut things out and take a chance, and build things up you think are working, you cut everything down a little bit, and everything sort of suffers.

I guess there was a little bit of a slight rebellion, maybe a little bit of a renegade desire that made me realize at some point in my adolescence that I really liked pictures that told stories of things - genre paintings, historical paintings - the sort of derivatives we get in contemporary society.

When I was about 9 years old, I became very interested in the human body and diseases. In general, I was just curious about the world around me. I think that any sort of curiosity as a child is a good beginning to a career in science because science, at least to me, is a continuous exploration of the unknown.

I came to acting as a sort of fluke. I really enjoy it, but I think I'm different from the people who dreamed about it.

You know, it's sort of common wisdom among New York publishers that short story collections don't make money.

I may have had a prejudice against agnosticism as a body of thought: sort of a fence-sitting theory, where you can't make up your mind one way or another.

I am a great observer of things, and I do it all the time. I store stuff; I use it as an actor; that sort of recall, of emotional memory and images of things, just tastes of things.

If you don't have a Facebook, like, you're nobody. There's all of these sort of requirements now, and if you don't have all of these things - Facebook, Twitter, etc. - you're made fun of. And Twitter for celebrities... everything is just getting so personal. Pictures of yourself, of what you're eating for breakfast.

I'm a firm believer in stories with arcs and beginnings and endings and all that. 'Scott Pilgrim' is sort of one long novel, and it's so long that I get confused and sort of tread water sometimes. But there's definitely a goal to it. People who just dismiss it as shallow, that's their prerogative, but it's not really my intent.

Last Wednesday, I stupidly dropped my iPhone in the bath, and my life has sort of spiraled almost out of control.

In a marriage, in any long-term relationship, not to bother with lying. There's no time for that. If you have any sort of secret life, it will come back to haunt you.

It seems extraordinary to have waited so long into one's life to have found the part that actually uses your basic rhythm. And I think that's always sort of what actors connect up with - their own sort of world.

Thank God, I have sort of a pan-European accent rather than Russian, which doesn't sound very pleasantly to Americans. For them, we speak with a rather rude pitch, and that might be our actors' problem there. Now I've begun working with language coaches in Los Angeles to get rid of the accent completely.

It seems to me we are now, since 1789, going through the same sort of process of regeneration the Roman world went through between 300 and 500. It is only to be hoped all civilization will not again be destroyed by the anarchists.

I'm sort of like a jeans and boots kind of girl. Casual comfortable. I like soft colors and solid colors.