Quotes of All Topics . Occasions . Authors
In life, loss is inevitable. Everyone knows this, yet in the core of most people it remains deeply denied - 'This should not happen to me.' It is for this reason that loss is the most difficult challenge one has to face as a human being.
My homies hold me down, really. I talk to Baby, Jeezy, Rozay, Nicki, everybody, from jail. Just call once in a while and holla at people like, 'Yo what's up? What's life like out there?' for people to give me a report of what's going on.
I'm standing behind a wall of jokes. You don't know about my personal life, my girlfriends, or what I do when I'm not on the road. There's this guy, this comedian, and this is how he thinks, but people really don't know anything about me.
In life it wasn't what you know, but who you know. I had people who were trying to buy teams and had they bought the teams, I would have gotten to coach because they wanted me to coach. But the people who have the teams hire their friends.
I had friendships with two people in my life who, when I attempted to do my habitual behavior of building a case to break up with them, wouldn't allow me to do it. They both said to me, 'I'm not going anywhere.' And that moved me so deeply.
All of us are mentors. You're mentors right here and now. And one of the things I've always done throughout my life, I have always found that person, that group of people that I was going to reach my hand out and help bring them along with me.
All my life, books have felt alive; some more so than people, or rather, some people. Alive - this has to do with me, I know, and not the books - in a way that some people aren't. Alive as teachers, alive as minds, alive as imaginative triggers.
One of the things that I found very confronting in my early working life was that people thought I was some sensitive doe-eyed lovelorn boy, because they'd seen me do that a couple of times. What tends to happen is you get a run of similar roles.
For me, couture is like 35 mm. film. It's so important we school ourselves to see real quality. In a couture garment, as in a 35 mm. film, you really feel the life of the people who made it. In high-street fashion, it's different. There's no risk.
When I had other things to deal with in my personal life, people were telling me to come and play for Scotland. So I'd come but then not play. I'd prefer people just to be honest with me and say whether they really want me there or just as a back-up.
It really annoys me when magazines put up these 'superwomen' with the perfect blow-dry, the perfect life - but nothing's perfect. People have a whole bunch of problems and it's how many solutions you can find to those problems as to how happy you are.
The biggest was me running Lionhead at its peak. That was about 305 people. I'd say that was, for me as a creative, one of the most hellish times of my life. Normally running a team is like herding cats. This was like herding the entire African plains.
I was kind of a MySpace kid in high school, and people thought since I had so many MySpace friends that they didn't need to be nice to me in real life. They were like, 'You get enough attention online,' or they were jealous or something. I don't really know.
My compositions are, I would say, like pages ripped from a diary that I don't really want to share, but that I almost feel the need to share. It's a way for me to get things out that I can't get out in life, you know, in real regular conversation with people.
One of the reasons I got into acting to begin with is that I was trying to figure out how life worked. It was interesting to me to try and follow how other people, real or imaginary, would deal with problems, because I was trying to deal with my own problems.
There are two sides to me. One is the writer. That's a savage person who looks at everything as a story and, you know, wants to use real life in his books. The other part is the Midwesterner, who, you know, wants to say nice things about people and be polite.
If I'm mad or showing my frustration, the whole team's gonna be like that, techs, and people are going to go down. So I just try to keep the even keel. That's why I don't get too high or too low. I've been playing like that my whole life. It's just natural for me.
It is clear to me that people often want incompatible things. They want danger and excitement on the one hand, and safety and security on the other, and often simultaneously. Contradictory desires mean that life can never be wholly satisfying or without frustration.
Most of my songs have names of people I've met or are dear to me. There are people who have privacy issues and about people knowing about their private life. But for me, I like to include few special names and few details about them to make the song very special to me.
The first Elizabeth film was an absolute travesty historically. It really was sloppy. Things like 'The Other Boleyn Girl' and 'The Tudors,' people's perception is distorted because of these. It matters to me as a historian, because I spend my life trying to get it right.
Ever since it was announced that Ryan Murphy intended to produce 'The People v. O.J. Simpson,' I have been inundated with the question as to 'How do I feel about it?' All I can say is, for me, it was personally the most heartbreaking tragedy that altered my life forever.
I never regret or sit back and think that I shouldn't have said something. There are a lot of people who tell me that you shouldn't say this or that or should keep quiet, and I really think that I can either be true to my conscience or can live a fake life by staying quiet.
I have 60 people working for me in my studio. That's luxury if you ask me. I just dream. Tell those people that I want a certain thing. Those people will then invest days, and sometimes months, in bringing that idea to life. What more could you ask for? That's luxury for me.
For most of my life, I believed that my father had broken many of my bones. They were emotional and psychological bones; things no one could see, things that caused me to limp through life clutching for and holding on to people and situations that often rendered me immobile.
One thing I'll say about Drake is that he never talks about me about going to any schools. I know people think that, but he has never done that. He just talks to me about how I'm dealing with life and things like that. He's like a big bro and I really appreciate that about him.
Many people in their teens wonder about these big questions - what's the meaning of life, what are we doing here - then somewhere in their 20s, they seem to say, 'I'll just get married. I'll just have kids. I'll get back to that later.' But they never do. For me, it kept boiling.
Sarcasm is weird. Even not in acting, in life I feel like 'sarcastic' is a word that people use to describe me sometimes so when I meet someone, it's almost like they feel like they have to also be sarcastic, but it can sometimes just come off as mean if it's not used in the right way.
One of the things that put me off writing for a while was that piece of advice everybody gives new writers: 'Write what you know.' Nobody would ever want to read about my boring life! But I do know a lot of things about different societies' cultures and mythologies. The way people were and are.
I think the biggest misconception about me is people really don't know who I really am. They see the party side of me, they see the crazy side of me. But I also have a laid-back side. You know, I'm chill, down to earth. If you want to grab a cup of coffee and just talk about life, I can do that.
I think people ease into this careerist professionalism, so if you're a writer it's your job to manufacture books as opposed to writing them and to go to festivals and spend your life emotionally invested in reviews or the awards. You have to shrink your universe in a way. To me, it's the opposite.
'Kiss Land' is the story after 'Trilogy'; it's pretty much the second chapter of my life. The narrative takes place after my first flight; it's very foreign, very Asian-inspired. When people ask me, 'Why Japan?' I simply tell them it's the furthest I've ever been from home. It really is a different planet.
I'm a real big Marilyn Manson fan. I get a lot of my styles from him. Not even musically - living-wise, too. Marilyn Manson definitely shows me you shouldn't care what nobody say. I watched a bunch of his interviews, and he's not just an artist; he's one of the most intelligent people I ever saw in my life.
I think that idea that sort of our emotional self and our emotional life is a faucet that you turn on and off, and that we are in control of it entirely, that's a really appealing idea for a lot of people. But there are certainly the times where it's appealing to me, but it never quite works the way I hoped it would.
I tried once in my life to write a novel. I had written something like 80 pages of it when my laptop got stolen. When I told people this, they acted as if something tragic had happened, but I kind of felt relieved, grateful to the thief who saved me from another year of something that felt more like homework than fun.
Just the life of doing what I do, being in the public eye, it's a stressful environment... You feel strange, self-aware, very foolish. Your third eye clicks on, just to try to maintain a healthy sense of perspective, and you think, 'What am I doing here? I'm just making a movie, and people want all these things from me.'
People do ask me for advice for some reason. And I'll just kind of pose it back to them and let them answer on their own. I never like to give my advice 'cause I don't want them to come back and 'You were wrong! You ruined my life!' so it's more about 'Hey, this is what you just told me. What does that sound like to you?'
I don't care what people think of me, unless they think I'm mean or something, but I don't care if they think I'm like someone else because I know I'm not - I'm a total weirdo. I'm not selling a dream; I'm not selling fame like it is some sort of fantastic thing. I'm just trying to sell music and get on with my real life.
For me, it is especially important to maintain my interior life. My spirituality, my connectedness. That is the way I think. That is the way I deal with life and tough moments. I keep in touch with something bigger than me. And I connect with people who have an interior life - a connection with something bigger than them.
It's people who you've seen that have given you a lot. In some ways, I felt they helped me psychologically because you see these people up on the screen going through torment and being on the outside, and somehow you relate to them, and it helps you get through life. It's a real honour and pleasure to then meet these people.
I mean, I was just one of the ones who got exposed, and because of the position I was in, where I was in my life, it went mainstream. A lot of people got out of it after my situation, not because I went to prison but because it was sad for them to see me go through something that was so pointless, that could have been avoided.
Self-esteem is made up primarily of two things: feeling lovable and feeling capable. Lovable means I feel people want to be with me. They invite me to parties; they affirm I have the qualities necessary to be included. Feeling capable is knowing that I can produce a result. It's knowing I can handle anything that life hands me.