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For me, the '80s was great because you had Boy George, Michael Jackson, Stevie Wonder, Prince, and Cyndi Lauper. No one put boxes saying this is urban, this is popular, this is underground. It was just good or bad.
I found that the quality of TV material that came to me was so great and was just often better than the film material I got. And when I find a good movie that I really like, I jump on it because it's exciting to do.
I could see that I was losing weight and sometimes I'd see a few good comments and that spiralled me to be like: 'This is how I need to stay.' No one cares whether your performance was good, or if you sounded great.
Also I just think I've been lucky enough to have great parents, and I've had good people around me who have always been honest with me, who would give me a purely metaphorical slap if I ever got too big for my boots.
I feel angry that I can't be hypnotized. I'm not putting it down, and I'm not saying that it doesn't exist. I have talked to a great many people who are very good at it, but so far nobody has ever been able to hypnotize me.
I'm not really a director for hire. You read these scripts and go, 'This is a really great script, but Paul Greengrass would make this so much better than me.' I usually say, 'I know who would be good for this. It's not me.'
I was a very good tennis player in Ottawa, Canada - nationally ranked when I was, like, 13. Then I moved to Los Angeles when I was 15, and everyone in L.A. just killed me. I was pretty great in Canada. Not so much in Los Angeles.
The characters are always the focal point of a book for me, whether I'm writing or reading. I may enjoy a book that has an intriguing mystery or a good plot, but to become one of my real favorites, it has to have great characters.
I did play with Dr. Strangely Strange a couple of years ago - that difficult third album, 'Alternative Medicine,' 1997. It was great to see them all. They're very special people and they were very good to me in Dublin in the 1960s.
In the countries where they don't know me, which is only America, wherever I go, the hotel, the restaurant, the airport, people go, 'Oh, my! What's that?' That's good. That's good, because there is a curiosity there, which is great.
The most important thing is to illicit some reaction, good or bad. If some people are repellent to me, so be it. If some people are attracted to me, great. At the end, that's the object of entertainment - you want to provoke a reaction.
When I was a young executive, I was always nervous that my idea wouldn't be great. So I asked around, 'What do you think of this?' That became my filter for whether my idea was good enough. Then I realized it just plain made me smarter.
Providence had a graduate assistant job opening. They asked me if I wanted to apply, and I applied. That break right there put me in position to learn from great coaches. It really jump-started every other good break I ever had in coaching.
There's always something about the Tonight Show that makes me a little bit anxious, nervous, excited. But it's good. It's good. It's been real good for me. It always has helped my career and Jay and all the people here have always been great.
Monsters don't scare me at all; I think creepy is scarier than gore. I tend to read more thrillers and mysteries than horror, though. I like a good whodunnit. If I want scary, I tend to reach for a movie. I think it's a great medium for horror.
I was told that the fact that I had nothing but good things to say about Judith Regan distinguished me. I enjoyed writing for Judith. I really enjoyed working with Victoria Wilson at Knopf, and Simon & Schuster, they've all been great experiences.
Our producer Jon Davison thought it would be a good idea to put in additional TV scenes. So, they sent me a tape of these additional TV scenes, and I watched them, and I didn't think they were that great. I didn't think it was worth putting them in.
Sometimes when I have an idea, and I say, 'Okay, let's - it will be great, maybe, if I sing in English, a couple of songs.' Now, the record company and everybody's like, 'No way, you have to sing in Spanish.' And that's, you know, really good for me.
I played tennis a lot when I had the skull injury. For the first two months of my preparation, it was all I could do. It is a great sport for me because it helps my hand-eye coordination, and you need quick feet, which is a good exercise for a keeper.
What strikes me is that 'XIII' looks like a movie. The shot making is movie-like, which is kind of fun - the kind of playful action movie shot making is pretty, is pretty good. What's also great about this game is its style and interesting story-line.
One must just keep having good seasons with many great matches, whether one is with the club or the French national side. For me, this must be a player's goal in his head, even if it's an individual trophy, and the first thought must be on the collective.
It's just about going out and getting the shot, so I have a great understanding of how to execute it, so that really helps me, and also having a good understanding of all the action that I'm shooting, it helps me in determining how I'm going to capture it.
I was not a great bartender, but I did OK. I wasn't great at being efficient behind the bar, but I was pretty great at talking to people. I was a pretty good waiter. It was painstaking to get me to care about the clientele of some of these places I was working at.
I was filming in Roscrea in Co Tipperary. I had great fun watching monks in the monastery there making bread. They even offered me a job as their main baker. One of them said I would make a good monk, but I told him there was a slight problem because I was married.
I've done a pretty good job of hitting 18-34-year-old males, and not such a good job of reaching kids. Disney has done a great job of reaching kids, but maybe not the 18-34-year-olds. I figure I can learn a lot from Disney, and maybe, I don't know, they can learn a lot from me.
Richard Branson once said: 'Tony's very good at selling bands and he's very good at making television programmes. But he'll never be great at either, until he decides which one he wants to do.' I entirely accept that. That doesn't matter to me very much. I like the irony of the two lives.
I would say it was my fault, my choice to not allow people to know who I was. Places I went, people I knew, they knew the way Toni Kukoc was as a person and they all treated me great. Everyone else who just read the newspapers and tried to learn about me, I guess I was not that good of a guy.
Mostly I want to talk positive; I wanna talk about a bunch of great kids that I coached and made me look good and the university that I've seen grow from a cow college, which it was, only 12,000 people, and when I came here, we weren't at Pennsylvania State University, we were at Penn State College.
I wrote all the lyrics on 'Good Vibrations' and most of them in 'Kokomo.' 'Kokomo' was extremely popular and fun to sing - it's probably one of the bigger sing-along songs in our show. But then 'Help Me Rhonda,' 'Surfin' USA' and 'California Girls' and 'I Get Around' and 'Fun, Fun, Fun' are great songs as well.
In the States, this type of jam-band phenomena has opened it up for groups to improvise, admittedly more in the groove area, as opposed to the straight-ahead jazz thing - which is good for me, as that's one part of where I'm at. It's been so great playing these gigs and seeing kids come out and the whole college scene.
It just tickles me still when you see Roger Clemens, as great as he is, throw a split-finger and the hitter just swings and misses. They don't see that ball that well. Jack Morris threw an awful good one and Mike Scott. There's a lot of great pitchers over the years that I think that pitch definitely helped their career.
I spent many years trying to fit in and do things the way I thought I was supposed to - trying to be perceived the way I thought people wanted to see me. I grew up in a very religious household and wasn't taught to feel comfortable or good about my sexuality, so it feels great to be able to say things the way I want to say them.