Quotes of All Topics . Occasions . Authors
I went to NYU Tisch for undergrad, and it was amazing. My life then was extremely experimental with acting. I did crazy theater where we would be rolling around on the floor. I would be playing grandmothers, and clowns, and all this crazy stuff. Then I would be doing Shakespeare eight hours a day.
When Jordan was averaging over 30 and shooting over 50 percent, he was doing it with less shooting on the floor for himself. He had less spacing to work with. He was going against defenses that were allowed a lot more liberties as far as physical contact, how hard they fouled, and all those things.
I came to London constantly, working with Ninja Theory on 'DmC Devil May Cry,' and I kind of fell in love with this amazing architecture, where you have these buildings that have clearly been around a long time, and they have this amazing gothic look, and then on the first floor, it's a McDonald's!
One of my favorite movies is 'Some Like It Hot,' which isn't really a musical, but I'm just such a sucker for old movies. I wouldn't want to ever tarnish one of them, or do a spot-on remake, but just do something light like that where I get to glide across the floor. I would be a very happy camper.
Before, I would play a little hoops, a little tennis. Now it's more yoga, Pilates, stretching, some light weight work, push-ups, sit-ups, resistance things. When I used to live on the eleventh floor, I would take the steps. I don't do that so much now. I'm taking the elevator a bit more these days.
My dad grew up with straight-up no running water. He slept in a twin bed with his two sisters and his mom, like 'Charlie And The Chocolate Factory' style: like, feet at the head, feet at the head alternating. And then I think his dad slept on, like, a bed of newspapers on a floor in their apartment.
I worked on the floor of the New York Stock Exchange back when they used to write tickets. And I was just a runner. So a guy would write a ticket and I would run it, and it was endless. That was a hard job. And I dug tungsten... for a coal company in Wyoming one summer, and that was pretty miserable.
Ever since third grade - I never even noticed it until after the game - people were telling me how crazy my dad is. I think I'm so locked in when I'm playing on the floor, I only hear him maybe during timeouts or when we're up 20 or 30 and I'm on the bench. But when I'm in the game, I don't hear him.
For the life of me, I can't understand why BP couldn't go in at the ocean floor, maybe 10 feet lateral to the - around the periphery, drill a few holes, and put a little ammonium nitrate, some dynamite, in those holes and detonate that dynamite and seal that - seal that leak. And seal it permanently.
It's going to be labor-intensive and time-consuming, but you need to take all the books down and put them on the floor. Take them down and spread them in one area. Physically pick each book up, one by one. If the book inspires you, keep it. If not, it goes out. That's the standard by which you decide.
When you do movies on low budgets, you don't want to have a location that requires a very big light right outside the window when you're 10 stories up. You have to find a location where you have a terrace outside, or you can light from a second floor, or you can light through the windows for daylight.
Not only did I not like officiating his games, I was afraid at times he was going to knock my block off... there was nothing you could do to get the guy on your side... with saying that, I've talked to Rasheed Wallace in the last couple of years and he's nothing but a complete gentleman off the floor.
When you're walking at the airport, you're expected to smile at people because they know you... I find that tough. I'm only trying to protect myself. So I don't take my eyes off the floor. People can take that as attitude. But it's actually shyness. Yes, it is a bad habit. But it's a defense mechanism.
The advent of so much dribbling has created a different kind of player, and it starts at a very early age. We have so many gifted ball handlers. Everything is pick-and-roll. Unless he's a catch-and-shoot guy, a player is going to put it on the floor and attack. Kevin Durant is a wonderful ball handler.
In my new IFC comedy game show, 'Bunk,' we actually use our intern Patrick as a human timer - giving contestants the time it takes for him to wade through a bag of broken glass for a razor blade, to get gum out of his hair, to pick up every strand from a box of spaghetti I spill on the floor, etc, etc.
When I was first started, when I was eighteen, I wrestled for a company that had a very hardcore fanbase and demanded a lot from its wrestlers. So, every single match, I would do every move possible. I would land on the concrete floor; I would land really high on my head just to try to impress the fans.
I've seen a couple of singer switches happen right before my eyes, one being Roy Khan to Tommy Karevik in Kamelot, and the other was Anette Olzon to Floor Jansen in Nightwish. Those happened with me present, and I saw how well the fans took to these singers because they were presented in the proper way.
When you're on the court, there is certain things that you would do that you wouldn't do off the court. When you get off, you obviously have to be gracious and a humble person. When you are on the floor, be a team player. Championships are what you are defined by - legacy. Go about things the right way.
In 2006, when doing a live stage show in Ireland, I tried for the first time to instantly induct a subject on stage, something I had never done before, nor did I know if it would ever work. The result almost cost me my career; the man I grabbed and instantly inducted went out cold and fell to the floor.
Especially in the whip operation, you're in constant contact with the members and their chiefs of staff, so having a chief who's approachable and reaches out to other chiefs so people know what's going - know what they're looking for in the policy that comes to the House floor - is incredibly important.
Nobody could like Donald Trump, surely, except his mother. No one really likes The Donald. But how can you not have respect for a guy who's been down on the floor and just keeps coming back? Nothing will keep Donald Trump down until they drive a wooden stake in his heart and a silver bullet in his brain.
I've played in bands myself, and sat on the floor photographing some of the greatest bands in the world while they rehearse. What's always struck me is how different the sensory, especially auditory, experience is when you're in the middle of the music with the musicians playing off each other around you.
Certainly as an actor, half of your work is not going to end up on the screen anyway, because in the editorial process, they need to cut to the other actor in the scene. Very often, your best work ends up on the cutting room floor, because it just doesn't work with the overall narrative drive of the story.
Always bake in the center of the oven. A pan placed too close to the bottom of the oven will receive more heat radiating from the oven floor, baking it faster from the bottom. The reverse is true of something baked on the top rack. Always bake in the center for the most even baking and browning all around.
I had a paint pony called Half-Pint, and I rode her in Madison Square Garden, and that was my first big show. But my first real pony was this red pony called Chantal. He was absolutely amazing. He was a great pony, except he did spin me off a couple of times! I would blink, and then I would be on the floor.
I served on the committee in the U.S. House that wrote the Affordable Care Act. I defended it back home in endless town halls. I got elected to the Senate, and when no one wanted to stand up for the ACA in its early days, I took up the cause, going to the Senate floor nearly every week to extol its virtues.
I want to tell the story. Mostly, when you see rock movies, it has to be this over-the-top thing. I want to give people a Bret Michaels movie where they see that my life is a comedy of errors. I also want to show my fans how to get through the kind of troubles that would leave most people flat on the floor.
Matt Leinart's L.A. duplex looks more like a Chuck E. Cheese safe house than a millionaire jock's crash pad. There's the requisite leather couch and flat-screen television, but the rest of the ground floor is bare except for a pile of Nick Jr. DVDs, a high chair, and a SpongeBob SquarePants director's chair.
I remember lying on the floor of my room, staring at a black-and-white television for most of the '80s - watching 'Diff'rent Strokes,' 'Facts of Life,' 'Silver Spoons,' Saturday morning cartoons, and 'Murder, She Wrote' while eating an insane amount of Stouffer's French bread pizza. I was sucked into it all.
I'd think the house was the source of great sadness or pressure. I knew it wasn't. I knew it was just where I lived. But I'd walk up the stairs and the second floor was just desolate. My old bedroom: empty. My old rehearsal room: empty. First floor studio: messy and empty. Middle room: broken gear everywhere.
We toured the U.S. and Canada for two years, which was a lot of fun. It was very much a do-it-yourself, punk-rock ethic of booking your own shows, sometimes sleeping on the floor of the club you had played or meeting folks that would take you in, or sleeping on the side of the road or at rest stops in the car.
What makes me unique is my ability to adapt to different situations and switch onto smaller guards and stay out there. Another component to being out there on the floor - and this is something that I learned as my college career went on - was staying on the floor, literally, comes down to not picking up fouls.
It was like I lived in a little suburban neighborhood in the middle of New York City because I could run around barefoot or, you know, completely independently from a very young age in the safety of this building where I knew everybody and where I had friends on every floor, and I knew the bellmen in the lobby.
There is this strange fog of being a young man that I would refer to as soft time. Time does not go forward there. It's a series of doors that kind of wind back into one another, like a series of doors in the upper floor of a house. You revisit the same lessons over and over again, or you choose to ignore them.
This is UCLA. The expectations are higher here than anywhere. The amount of success both in terms of championships and wins as well as success off the floor has been second to none in college basketball. I knew that when I took this job. I know the expectation level, and no one has higher expectations than I do.
My mother ran the household. In grade school, I came home crying one day. She said, 'What's wrong?' and I said, 'This kid said he was going to jump on me.' She grabbed me and slammed me on the floor. 'If you don't go out there and stand up for yourself, it's going to be me and you.' I didn't want that to happen.
I believe I never finished playing Sherry Palmer, that's why when the thought they shot and killed me, Penny's butt kept breathing on the floor, because I believe that she never died. I just feel like that's a character that I would want to play to feel a completion, because I never really completed playing her.
I am the world's most appalling martial artist. I am so bad. I've studied jujitsu, kickboxing, t'ai chi. Once, I was sparring with someone, made a mistake, and managed to knock them down. I was so shocked that I dropped to my knees to see if they were all right, and then they knocked me out cold. From the floor.
I've always been comfortable being the first person at a party, metaphorically speaking - being the first person on the dance floor, saying, 'This is where it's happening, people, and if you don't think so, that's cool, but I think you're missing out.' That's my general philosophy, and it's served me pretty well.
Writers divide fairly cleanly into those who only work through what they hear and those who are more visual. I am the latter, where I lie down on my office floor and play scenes through my head to - cinematically, several times with different elements - to see what works. I can't write a scene until I can see it.
Of course, there are those critics - New York critics as a rule - who say, 'Well, Maya Angelou has a new book out and of course it's good but then she's a natural writer.' Those are the ones I want to grab by the throat and wrestle to the floor because it takes me forever to get it to sing. I work at the language.
'Gorilla Man' is a composite of a few individuals, but the song itself was actually inspired by James Taylor. I spied his 'Gorilla' album laying on my floor and in some altered state, instantly started singing the chorus. It was fun to write. There's an old notebook with at least three more verses in it somewhere.
I'd begun to collect things that were lying in piles on the floor of my studio. I had run out of space, and I started to build shelves. I turned around one day and realized that that was the vehicle for carrying so many of the things that I was looking at and talking about, so they went from the walls to the works.
Even the National Bank of Romania doesn't have the huge resources needed to intervene in the market and keep the leu at an acceptable level, because they're drawing close to a floor below which the bank's reserves can't drop. The central bank has to wait for a moment of calm to efficiently conduct its interventions.
All the cliche stuff that everybody says but doesn't necessarily take to heart, that's honestly all you can do. All you have to do is put your best foot forward every time you get on the floor and stay ready and hopefully have the blessing of staying healthy and take advantage of the opportunities when you get them.
I was training in an old garage - just a roof. And when its snowed, it would cover the floor, so I would have to clear this first. I didn't have a punch bag. There was no place to buy it, so I managed to get a speed ball, but it didn't have the swivel mechanism, so I just nailed it to the ceiling and started kicking.
I think maybe people see bands and musicians as some sort of superhero unrealistic sport that happens in another dimension where it's not real people and not real emotions. So, I grew up listening to Beatles records on my floor. That's how I learned how to play guitar. If it weren't for them, I wouldn't be a musician.
On the New York Stock Exchange, all buy and sell orders are routed through a single 'specialist,' guaranteeing that most small trades can be matched directly. But most larger trades are delivered to the specialist on the floor of the exchange by human brokers, a system that big investors view as increasingly inefficient.
It's possible to spend every waking hour here on the ninth floor and not get out of the office. And this isn't the real world in here. And contrary to public opinion, I'm not incredibly poll-driven. They are an ongoing indicator of how we are going, but I take the feedback I get on the street as being the most important.
Language just gradually came in, one or two stressed words a time. Before then, I would just scream. I couldn't talk. I couldn't get my words out. So the only way I could tell someone what I wanted was to scream. If I didn't want to wear a hat, the only way I knew to communicate was screaming and throwing it on the floor.