Quotes of All Topics . Occasions . Authors
People don't always read things the way they are intended.
I can't have people always having their opinions floating my way.
Testimony always comes from people who are in some way disempowered.
I'm always hyperaware of the way in which working people are portrayed on the stage.
I always expect people to be torn when they see one of my films and divided in some way.
Some people like to do everything always the same thing. That's another way: To do the same thing.
I have always believed governments must adapt to the needs of the people, not the other way around.
I'm not going to jump over or muscle people. That's the way I've always played, the only way I know.
I've always been the same since I was a kid, maybe it was the way I was brought up, but I've never liked arrogant people.
There are people who are always anticipating trouble, and in this way they manage to enjoy many sorrows that never really happen to them.
I've always been very curious about fringe cultures where people temporarily adopt a different social model or way of presenting themselves.
The only way to kill militancy, to reduce it, is to provide opportunities to people who have no opportunities. I've always told my American friends that.
People are always saying that I must have been the class clown, with all these voices. No, I was way too shy to be the class clown; I was a class clown's writer.
I wish I trusted people more. But when I meet someone, the first thing is, 'What does this person want?' And I put up a defense mechanism. But I've always been that way.
People take toasting way too seriously - especially the clinking glasses part. There are always a few people who are seated too far away from each other to easily clink.
And I'm always surprised when people have seen 'The Foot Fist Way', so when people bring that up, I'm always surprised that's reached other people besides my immediate friends.
I've always been a little more narrative, a little more linear, a little more direct. People instantly want to classify that as something retro. It's just a way of writing songs.
I wanted to be a designer since I was a kid, and I was always attracted to the way rock stars dressed and the way their girlfriends dressed. I always thought that they were the most interesting people.
People understand the simplicity of violence, and martial arts has always been about the more efficient way to deliver said violence upon an adversary. I've kept that philosophy as the focal point of what I do.
I've always been of that mindset - when you're writing tunes with people, there's a traditional way of chopping things up, and then there's the way that feels right. If people contribute, you hit 'em accordingly.
I've always swung the same way. The difference is when I swing and miss, people say, 'He's swinging for the fences.' But when I swing and make contact people say, 'That's a nice swing.' But there's no difference, it's the same swing.
My only qualifications to be an actor were that I'm daring, and I'm a quick learner. I've always learnt by watching what other people do. It's the same with my writing. I write what I know. Structurally, I write in a very undisciplined way.
I have always been a big meta guy because I think the way journalism is practiced in Washington, and the way everyone sort of cohabitates in the same fishbowl is ultimately a bigger part of the story than people outside of the fishbowl really know.
I have always considered that my collection must have an international flair so it can be at the service of the European public. Or to people in Asia. Yes, there are tiny little alterations I notice in the proportions of the outfits, but fundamentally, the collection is that way.
I think you always want to have a project where it's not about you: where you're serving it. Where it has needs, and you're trying to meet those needs, so you're trying to lift it out of you and put it out there and then say to people, 'Hey, I think that's it; let's head that way.'
I really do like the independent way of working. You don't get much studio intrusion compared to when you're working on a big Hollywood film where there tends to always be loads of people interfering. The only problem, though, with independent features is that they are hard to sell.
Well, acting itself is a form of rebellion, always. Getting up there in front of people, telling stories - you're kind of going against the grain to begin with, wanting to do that, don't you think? Why else would you do it? Except maybe as kind of a way to affirm your very existence.
One of my favourite Donald Byrd tracks is 'Think Twice,' and I didn't want to sample it. I've always enjoyed when other people have sampled it, so I wanted to instead of making a beat with it or something like that, or freak the beat of whatever. I wanted to just recreate it in my own way, like how I heard it.