Quotes of All Topics . Occasions . Authors
I used to have 20/20 vision, believe it or not; that's gone because of all the reading I did when I wasn't supposed to, reading in the back of a car, waiting for each street light to go past so I could grab another sentence.
Last time I was in London, I visited Number 5, Bruton Street, which is the address I gave to Violet Bridgerton, the matriarch of the Bridgerton clan in my novels. It was a bit disconcerting to learn that it's actually a pub.
All of everything we've ever done has been riding on low expectations. 'Cloudy With a Chance of Meatballs,' a terrible idea. Doing '21 Jump Street' as a movie is a terrible idea. 'The Lego Movie' sounds like a terrible idea.
My wife is an Olympic gold medalist, WNBA All-Star, 'Jeopardy!' champion, and Rhodes Scholarship finalist who was sung to by President Clinton, sung about by Ludacris, and serenaded on 'Sesame Street' by a chorus of Muppets.
Part of what I do and what I want to do is I want to bring art into the everyday life. If you can take ordinary just walking in the street and you're confronted by something, that might change your day - it might inspire you.
A plague on eminence! I hardly dare cross the street anymore without a convoy, and I am stared at wherever I go like an idiot member of a royal family or an animal in a zoo; and zoo animals have been known to die from stares.
Sometimes people will come up in the street and say: 'My daughter loves you, will you sign an autograph for her?' And some people send me stuff. I don't mind it at all: as a sportswoman, you owe them because they support you.
Streetfighting is just get out there and bang. It's whatever in a street fight. This is different. You have to be real smart in your decisions at this professional level of the game. In a street fight, it doesn't even matter.
I was born in Newark, New Jersey, and grew up in Summit, an upscale town in north Jersey. There was this tiny area of Summit where most of the black families lived. My parents and I lived in a duplex house on Williams Street.
I will never say never, but I will say never to doing the more typical romantic comedies. You know, unless I'm getting audited and I'm on the street and I desperately need some dough and that's the only thing that I'm getting.
When I was a kid, I was really into 'A Nightmare on Elm Street' and 'Friday the 13th.' But as I got older and started working as an actor, I did not really get scared by horror movies as much, so I am not as into them anymore.
I'm street smart. You can't con me. But that's just from living in New York. Now if a guy came from Mississippi somewhere, Ohio somewhere, to New York City for the first time, he don't have the street smarts. You can take him.
New York and LA are both great places to visit, but I wouldn't want to live in either of them now. I find New York extremely claustrophobic and dirty. LA is quite a nice place. But there's no hustle and bustle, no street life.
I was looking at the work of the New York street artists and then discovering Basquiat and Haring after that and seeing how the contemporary art scene was, and then going back into Warhol and all that was happening in the 60s.
Growing up in a trailer, you think everything you get is good. I always thought it was a gift from God, because some people are out here struggling and on the street. We had warmth. We had clothes. We had a roof over our head.
I have crazy friends, so a lot of times when we're out, people recognize me on the street, but they will yell, 'This is Cameron Boyce!' and just run! They do that. Then I'm in the middle of the street with people looking at me.
Grafted onto street clothes and removed from the field of play, jerseys don't even flatter men in their physical prime. Witness any baseball player wearing a uniform top over dress shirt and slacks at a press conference podium.
In my gap year between college and drama school, I taught art at a hospice and worked at a little coffee shop across the street from Shakespeare's Globe Theatre in London when everything around it was still a construction zone.
I can control my destiny, but not my fate. Destiny means there are opportunities to turn right or left, but fate is a one-way street. I believe we all have the choice as to whether we fulfil our destiny, but our fate is sealed.
Absolutely, it's a really weird stage because at the minute, I can walk down the street and be unrecognised, lead a normal life, but my label and everybody is warning me that will be changing and I'm in for a rollercoaster ride.
Our family always rescued animals from local shelters or from the street or from someone who didn't want their animal. We always had a dog in our house. We usually had two cats. We had guinea pigs and little chicks and chickens.
You can learn from everyone, the president or the cleaner. You need teachers in life, but they're not always school teachers or professors. You learn from ordinary people. You learn from travel, from just walking down the street.
Jean Shrimpton was the most beautiful of all the models I have known. To walk down the King's Road, Chelsea, with Shrimpton was like walking through the rye. Strong men just keeled over right and left as she strode up the street.
Rap is hardcore street music but there are women out there who can hang with the best male rappers. What holds us back is that girls tend to rap in these high, squeaky voices. It's irritating. You've gotta rap from the diaphragm.
Oil futures were originally created to give heating oil dealers, gas retailers, aviation companies and other businesses a method of hedging against adverse price changes. Instead, they've become just another Wall Street plaything.
The minute a Wall Street firm purchases your debt, your bank no longer has it on its financial statement, which then allows the bank to look for more credit card customers. That's one reason why you get so many credit card offers.
I have a lot of Chinese fans who buy my movies on the street and watch them, and I'm OK with it. I'm not OK with it in other places, but if the government's going to censor me, then I want the people to see it in any way they can.
I make documentaries from time to time to remind myself of reality. It's like musicians doing scales to keep their fingers working: when you're in the street, listening to people, you're forced to be in the service of your subject.
It is all around us, hidden in plain sight. It is walking our streets, supplying shops and supermarkets, working in fields, factories or nail bars, trapped in brothels or cowering behind the curtains in an ordinary street: slavery.
I love going to the Via Giulia, a beautiful old cobbled street, which has a bridge at one end behind the Palazzo Farnese. It has long creepers hanging from it, and is the most evocative, beautiful place to stand and enjoy the city.
New York used to be so much more than just a place to shop. It was life on the street for the eccentrics; it was an eccentric city. It had many different tastes. Now it's just one - a really rich one - with big tall glass buildings.
The media and marketing deluge has spawned a new type of Wall Street loser: the armchair momentum player. These are novice investors who engage in short-term stock buying and selling based on media reports or an expert's enthusiasm.
I use a stylist, which wasn't something I imagined I'd ever do, because I like shopping, but because we prerecord 'Countdown,' I don't want to wear something that everyone has from the high street by the time the programme goes out.
So there are ups and downs, but the best is just the looks on people's faces when they meet me for the first time, because I am a real-life, walking, talking giant. It's not every day you see someone like me walking down the street.
Being a black male in the Deep South after World War II, you could actually come home in your uniform and be lynched on the spot or be connected to some horses and buggies and dragged on the street in front of your wife and children.
You got some artists who want street credit. Like, they market street credit. They take certain incidents and turn it into marketing to try and boost the sales. You don't never see me speaking on that. I'm trying to stay away from it.
After appearing for eight seasons as a beloved character on 'Supernatural,' it's not surprising that I get most of my recognition on the street from that, and it happens with some frequency. But I'm not a guy who gets recognized often.
So she went into the garden to cut a cabbage-leaf, to make an apple-pie; and at the same time a great she-bear, coming up the street, pops its head into the shop. 'What! no soap?' So he died, and she very imprudently married the barber.
Stephanie and I got married publicly on the beach, in front of friends and family, and the local police shut down the highway for us to cross the street back to my cousin's house. Cars backed up for miles, and everybody in town cheered.
I bet taxpayers remember providing more than $812 billion to Citigroup and Bank of America, two Wall Street banks, in 2009 to bail them out during the 2008 financial crisis. Taxpayers remember that generosity; big banks evidently don't.
I remember turning onto the street. I saw barricades and police officers and, just, people everywhere. When I saw all of that, I immediately thought that it was Mardi Gras. I had no idea that they were here to keep me out of the school.
We played out on the street every single day as a family, with neighbours, at the community centres, and I developed the desire to win very early. That environment instilled a competitive edge in me, which has paid dividends in my life.
When I see fans in the street or at meet-and-greets, it's great. Sometimes they want me to be that person they see on TV, take a picture with a hand in their face or ask me to 'be mean like you do.' But I can't play that character 24-7.
You ask for your audience's investment in your music; you're in a relationship with them. And their relationship with the E Street Band is separate from whatever else I might do. I like the idea of us being something that people rely on.
Even in the 1950s, President Eisenhower was concerned about what he called a campaign of hatred of the U.S. in the Arab world, because of the perception on the Arab street that it supported harsh and oppressive regimes to take their oil.
I remember as a little boy I ate one meal a day and sometimes slept in the street. I will never forget that and it inspires me to fight hard, stay strong and remember all the people of my country, trying to achieve better for themselves.
In my vocal, I think you can hear something of my earlier times when I'd sing in subway halls for the echo and perform doo-wop on street corners. But I had a lot of influences, too - singers like Sam Cooke, Brook Benton and Roy Hamilton.
I think if you do a lot of interviews, you're laying yourself open. If you put yourself out, accept every invitation to every premiere, then you can't really complain when people knock on your front door and photograph you in the street.
Everyone is an ocean inside. Every individual walking the street. Everyone is a universe of thoughts, and insights, and feelings. But every person is crippled in his or her own way by our inability to truly present ourselves to the world.
I'll see a photograph of a character and try to copy them on to my face. I think I'm really observant, and thinking how a person is put together, seeing them on the street and noticing subtle things about them that make them who they are.