Quotes of All Topics . Occasions . Authors
The whole voiceover world is new and different to me and quite challenging.
On March 4th, 1830, I arrived in London, where a new world seemed opened to me.
I was born in Costa Rica and we moved to America where it was a whole new world for me.
I've always been such a private person. Even stepping into social media was a new world for me.
I'd rather promote New York than anything else in this world because New York to me means the world.
New York felt to me like what America should be - a representation of the world in this small pocket.
Fantasy enabled me to break the shackles and create a whole new level of 'the world is in danger' stakes.
Over the years, Forgotten Realms and gaming have taken me all over the world and made me all sorts of new friends.
I'm training in martial arts. It's a whole new world for me and I'm loving it. I do that or hot yoga; I have to do some kind of exercise.
Obviously, the big hits like 'Shout,' 'Everybody Wants to Rule the World,' 'Head Over Heels,' we play live, so there's nothing new about them to me.
Moving to Liverpool was a new world for me. I had been living with my parents in Holland, and all of a sudden I was living in a foreign country on my own.
Filming in India was very special. The chaos, the noise, and the sensory overload was all really wonderful. It was a new world to me, and being able to capture that was incredible.
Shonda Rhimes, especially, saw something in me that no one had and then wrote to my strengths for 'Grey's Anatomy.' That's the job I think really opened up a whole new world for me.
To me, what defines a New Yorker is the edge that one develops from having actually lived here. Once you have it, it doesn't go away, and everywhere else in the world feels like it is in slow motion.
And so there I was living in California from Brooklyn, New York, and it was this whole new world for me and I was meeting vegetarians. I thought, let me try this vegetarian thing. I got really into that.
For me, even in my first book, the pleasures of writing anything magical is that it has to be physical. It has to be grounded and very much in this world. Then, I get to play with all the consequences of this new thing.
I sat with the grandson of Edgar Rice Burroughs at the world premiere of 'Tarzan,' and at the end of the film, he was very happy. He told me that we were bringing 'Tarzan' to a whole new generation, and he was very grateful.
I was watching TV and saw the 'Emeril' show, and it spoke to me. I went out and started researching the culinary world and chefs that I knew nothing about. Then I moved to New York and went to culinary school, and everything just fit like a glove. It's been on ever since.
I think for me, the imaginary world was always exciting. I started in New York doing theatre, from having just one person in an audience to performing for a full house. I think I've always enjoyed playing different characters, blending into different environments and such.
We were in Philadelphia when Manager Pat shifted me from third to short, and right off the bat, I knew I had found my dish. Footwork was more a part of the new position than it had been at third. I suddenly felt I had sprouted wings. A world of new possibilities opened for me.
Everybody has done something about Marco Polo. It's the tiredest, most trite and worked-over subject in the world, and that was why it appealed to me, because I wanted to do something really new and different about something that had been worked over all these centuries, and I think I did.
When I speak at my local church, which I try to do 35 to 40 times a year, I try in every lesson to take the Old Testament text or New Testament text and apply them to what is happening to me or how that applies to the audience that I'm teaching in a modern, fast-changing, technological world. I use headlines, interfaith and that sort of thing.