Best 18573 quotes in «real quotes» category

When I was a boy I used to think that STRONG meant having big muscles, great physical power; but the longer I live, the more I realize that real strength has much more to do with what is NOT seen. Real strength has to do with helping others.

When I was a child I accidentally made a chemical bomb. I also ate my grandfather's heart pills. I got my stomach pumped for that one. I got over that so by the time I hit my teens I was kind of mild. Now I'm like an old lady who occasionally parties real hard.

When I was a kid and I would play pretend, I would end up with blood everywhere and I would cut my feet up. I love the feeling of it being real.

When I was a kid I really didn't have my own opinions and then sort of transformed into this angel which is really Marilyn Manson and then the final stage is Antichrist Superstar which is the more nihilistic, totalitarian element in everybody's personality, that, is a real struggle on the album and in my life, between that power.

When I was a kid, I had THE biggest crush on Helen Reddy. I mean like for REAL crush - like 'spend some time in the bathroom thinking about her' crush. I blme Pete's Dragon. There she was - flushed, singing, clas in a tight wet plaid shirt. Judas Priest she was fabulous.

When I was a kid, I remember the first Batman, the first Superman comic books when they came out, thinking how great that was and wouldn't it be great to see a movie like that. They did some cheap serials, but they're not the same as today. But I think younger audiences would like to see a real hero also.

When I was a kid, some of the guys would try to get me to hate white people for what they've been doing to Negroes, and for a while I tried real hard. But every time I got to hating them, some white guy would come along and mess the whole thing up.

When I was eleven I stopped dreaming the dreams that didn't come true, I stopped talking to people who didn't listen, I lost hope and I retreated. I assumed that the root of the problem was that I was too strange for the real world. That being the case, I created a charming and dynamic personality to make the necessary forays into the Outside, and I kept my strangeness for myself; my own peculiar jewels under lock and key.

When I was first starting out, if you were acting on television, it was a real stigma.

When I was a teenager, if you'd asked me, I would have said I was in a relationship with New York City. It was my first real love.

When I was four I thought everything in TV was just TV, then I was five and Ma unlied about lots of it being pictures of real and Outside being totally real. Now I’m in Outside but it turns out lots of it isn’t real at all.

When I was a kid, I was taken to something called Telenews in Cleveland by my best friend's father. My own father was gone by the time I was 5, I think, but this man would take us to Telenews at the end of World War II, and we'd watch all these newsreels. I'd seen real stuff. That kind of stuck in my mind.

When I was in college, I was debating to try my hand at show business, or to become a professor. I just thought of the risk of not going into show business and always wondering if I would've had a chance. Because that's where my real heart was.

When I was in high school, even in college, I didn't have any real image of a career woman or a professional woman.

When I was in high school and college, my other real focus was, actually, fiction writing. So in college, I had done all these seminars with these various writers-in-residence.

When I was a small boy in Kansas, a friend of mine and I went fishing. I told him I wanted to be a real Major League baseball player, a genuine professional like Honus Wagner. My friend said that he'd like to be President of the United States. Neither of us got our wish.

When I was a younger man and had a life, I owned an El Camino pickup in the '70s. It was a real sort of Southern deal. I had Astroturf in the back.

When I was just a kid, growing up in Brooklyn, I was constantly making home videos with my family – real silly high-concept productions like, 'Attack of the Killer Handkerchief.' I guess I knew even then that I wanted to be an actress.

When I was starting out, being a young entrepreneur was not fashionable. Parents would ask, 'When are you going to get a real job?'

When I was thinking about what we could do in terms of what production values of Broadway might be able to add to the show, I had this thought that it would be really cool if we had a coup de théâtre. What would they want? And then I was like, an amazing, enormous tuna puppet that was like 30 by 40 feet would be pretty incredible. So I called up Basil Twist, and he got really excited immediately and started sketching out his idea, and I think it's a real highlight of the show.

When I was quite young I fondly imagined that all foreign languages were codes for English. I thought that "hat," say, was the real and actual name of the thing, but that people in other countries, who obstinately persisted in speaking the code of their forefathers, might use the word "ibu," say, to designate not merely the concept hat, but the English word "hat." I knew only one foreign word, "oui," and since it had three letters as did the word for which it was a code, it seemed, touchingly enough, to confirm my theory.

When I was little, I knew that I was not adopted, but I actually imagined and hoped that I was, and that my real parents were going to come get me. I was just too different from the rest of the family, so I lived in books and in my imagination.

When I was producing the first solo album, i just wanted to convey some messages through it. The message was 'no blood will come out even if I am pinned' However, after trying out different kinds of music activities, I started to change and wanted to convey my real emotion that I have in my everyday life. I want to express the feelings that everyone has felt at least once, in music so I think people will feel/understand my songs.

When I was young, I was really, really obsessed with Gena Rowlands and John Cassavetes. Because my mom was a projectionist in college, she was somehow able to get a real projector. And she had some connections, so she would get real prints, and we'd put up a sheet. The first movies I saw were To Kill a Mockingbird [1962], Gigi [1958], A Woman Under the Influence [1974]. Then when I was old enough to be able to rent movies, I went through a very big Cassavetes phase.

When I was younger, I had some close friends who always loved European football, and Real Madrid at that time were the dominant force. I remember family holidays when we used to go to Spain, and we'd bring back replica shirts of Real Madrid and pretend to be the players when we played in the park.

When I write a story, I just wanna tell you what's in my head. It can come from real life and then turn into fantasy, stuff just rhyming. And write about what you know. I just like to tell stories that have not been told or [told] from my perspective.

When I won the Oscar, there was something telling me 'this isn't the truth'. I had to get back to real work.

When I write, I lose time. I'm happy in a way that I have a hard time finding in real life. The intimacy between my brain and my fingers and my computer... Yet knowing that that intimacy will find an audience... It's very satisfying. It's like having the safety of being alone with the ego reward of being known.

When I woke up in you, Cassie. I wasn't fully human until I saw myself in your eyes." And then there are real human tears in his real human eyes, and it's my turn to hold him while his heart breaks. My turn to see myself in his eyes.

When life is real, it's not going to be smooth.

When I wrote "Lead Me," I had no idea that God was preparing me to lead my family through a season of great adversity. It was only a month after Pieces of a Real Heart was released that my wife, Sarah, and I found out that our son had a severe, life-threatening heart defect.

When my family all got together, I'd always get up and entertain everyone, but it was all a bit of a joke. My first real memory of singing for people was when I was about eleven or 12.

When Marconi suggested the possibility of wireless transmission of sound (the radio),he was committed to a mental institution. But people like Lincoln, Edison, and Marconi were strongly motivated. So they didn't give up. They somehow knew that the only real failure is the one from which we learn nothing. They seemed to go on the assumption that there is no failure greater than the failure of not trying, and so they continued to try in the face of repeated failures.

When money gets too far away from actual, physical, real equity and property it gets too abstract and too distantly derived and then suddenly it's not worth anything anymore. And the same is true of language.

When my parents died, it became clear to me that there was an end in sight. Death was never a real thing to me. And then when that happened I realized I only have so many years left, if I'm lucky.

When myth meets myth, the collision is very real.

When one is young, one venerates and despises without that art of nuances which constitutes the best gain of life, and it is only fair that one has to pay dearly for having assaulted men and things in this manner with Yes and No. Everything is arranged so that the worst of tastes, the taste for the unconditional, should be cruelly fooled and abused until a man learns to put a little art into his feelings and rather to risk trying even what is artificial — as the real artists of life do.

When our thoughts look real, we live in a world of suffering. When they look subjective, we live in a world of choice. When they look arbitrary, we live in a world of possibility. And when we see them as illusory, we wake up inside a world of dreams.

When one is young, aspiring to play for the country, doing well, any hindrance, like injury or being out of form, can be frustrating and a cause of annoyance or even anger. But once you have a close encounter with death, you realise the real value of life.

When people are alive they love, when they die, they keep loving. If love ends when person dies, that is not real love

When one of my Japanese teacups is broken, I imagine that the real cause was not the careless hand of a maid but the anxieties of the figures inhabiting the curves of that porcelain. Their grim decision to commit suicide doesn't shock me: they used the maid as one of us might use a gun.

When people give you their stated reason for doing something always assume they are giving you a reason that sounds good, but not the real reason.

When people have a real sense of legacy, a sense of mattering, a sense of contribution, it seems to tap into the deepest part of their heart and soul. It brings out the best and subordinates the rest.

When I was in high school, my friends and I would drive out into the country to abandoned houses and structures... haha... to ghost hunt. We would scare each other so bad! We would sometimes camp out by the abandoned buildings just to scare ourselves! Such good times. The adrenaline of real fear is so cool!

When I was growing up, all the films about teenagers were played by Tony Curtis or John Cassavetes when they were 27, 28 years old. We would see these teenage movies in the theaters and I would say, "They don't look like they're my age at all." So I wanted to make a movie that was real and I wanted to make a movie that wasn't about me.

When I was in college, I was in the theater department, which for anyone who has been involved in any kind of theater program, you know that it's really wacky and tight-knit, a real family. Me and my good friends from college would do random shows and plays that were sometimes serious, but most of the time really goofy and funny.

When I was sworn in as Mayor of Nashville back in 1991, I have to admit to you that I felt for several weeks like a bit of an outsider who had somehow taken over but didnt really belong in this nice palace. I secretly wondered if the real mayor would come back from vacation one day and call the police.

When I was young I used to sit in the cinema thinking wouldn't it be great if you could have a film in which the characters were like real people instead of being like actors.

When I was twelve. And I was going through my parents' bookshelves, I found the most wonderful books and plenty of. Within those wonderful books that were real turn-on's. At 12 or 13, books were such turn-ons.

When I write I am the real me.