Quotes of All Topics . Occasions . Authors
I can laugh on cue, and it sounds real. People laugh with me.
I try to play real people who inspire me through something in their journey.
But people who do not know me are surprised to see me as a real person I guess.
People know me as a TV actor but they don't know who the real Abhinav Shukla is.
I think there should be a reason tor people to be interviewed. For me, there's no real reason.
I find that using real people as models keeps me from getting too formulaic in the designs of characters.
The people I write are real to me, and basically, they tell me about their environments on a need-to-know basis.
Anybody who works with me knows this: I always repeat wardrobe in my characters. We're trying to play real people.
People put me in this ditzy, posh and stuck-up category, so it's been nice the public have been able to see the real me.
Fame terrifies me. I can say that with honesty. You're terrified that, when people know the real you, they won't like you.
For me, the real pleasure in writing is in having an excuse to pursue my curiosity about people who have meant something to me.
I try to watch only real things, which basically amounts to C-Span for me. I like real people in real situations. I learn from that.
It appalls me that the people who decide what Americans will be watching on the tube have never been to the United States. Not the real United States.
Well, softness and femininity like yours people don't expect of me; so when they find me emotional and capable of real vulnerability, they're surprised.
I'm real, and that what you see is what you get with me. I want people to know that I'm just Julianne. I'm not somebody that needs to be put up on a pedestal.
People don't think of me as Glenn Kelman; they think of me as the real estate guy. If I wasn't interested in real estate, that would be pretty tragic, wouldn't it?
People were telling me it was refreshing I was real because previous 'X Factor' winners were too afraid to say anything. I decided to go against the grain. But I took it too far.
A lot of people come up to me expecting to meet the person they have seen perform. It's not going to happen, unless my mania, my stage person, responds to them and not the real me.
The people who were in college in the '50s were my first real audience, and their kids, the people who found my records in the cabinet during their 'Mad 'magazine years picked me up also.
Well, I don't know if I can comment on Kant or Hegel because I'm no real philosopher in the sense of knowing what these people have said in any detail so let me not comment on that too much.
I have a couple of thick files about things that have gone wrong between people; I ought to write about them in the manner of a thriller. It would finally convince me that I was a real writer.
Everywhere I go, I see all kinds of people at my shows - conservatives, liberals, new-agers, teen-agers, old pensioners. And for those people to have something in common is real interesting to me.
People who are my superfans will come to my app. Not everyone is going to come to the app. The superfans who come to my app will see the real me in a very different mode. That is the speciality of the app.
I've done network shows. A director will call me and say, 'Do you want to do this with me?' and I'll say, 'Sure,' but I couldn't do it forever because there's no real expression. That's not how people talk.
The people who critique me are the people who don't know about the sport. They don't really know about the rules of MMA. They aren't a real fan or follower of the sport, or they're just people who like to talk.
I could only speak in the smallest, most intimate circles about the real reasons which made me undertake the changeover of the plants for certain lines of production for I had to expect that many people would not understand me.
It's weird how people who are the least close to me or who've never even met me purport to be experts on the real me; and then, sadly, there are those who could be in touch with me but prefer to gossip with strangers about me instead.
The people who go get an LL album want to hear LL. They don't want to hear LL trying to sound like DMX or whoever else is out there. That's not what they want to hear from me, because if they want to hear that they can go get the real thing.
I went to Northwestern in Chicago, in Evanston, and then I ended up trickling down in Chicago theater. I did a bunch of plays, but I was non-equity. For a lot of people, non-equity means you're not yet professional. But for me, if you're in a mainstream theater, you're doing something real.
I was at a book convention, in a cab. On one side of me was Arthur Schlesinger; on the other side was William Manchester - real heavyweights. All they were doing was asking me about Charles Manson. The only thing that enables me not to be bored is the people talking about it - they're so interested.
I couldn't give away my husband's shoes. I could give away other things, but the shoes - I don't know what it was about the shoes, but a lot of people have mentioned to me that shoes took on more meaning than we generally think they do... their attachment to the ground, I don't know - but that did have a real resonance for me.