Best 18573 quotes in «real quotes» category

When I first got on the internet as a tween, I wasn't comfortable showing up in social spaces. I didn't have a loud voice. As a function of my youth and gender, I wasn't given a voice at the dinner table, and nor maybe should I have been. But I thought I wanted one, and I was able to have it online. I wasn't a great talker, but I found these other skills. And when this stuff is described as "not real writing" or "bad for my brain" or whatever, it just seems like it's from people who wanted to keep their place at the dinner table.

When I first got Yves Saint Laurent Couture, I didn't know how to take off a cape. I would ask Katoucha and Dalma - the real divas of the runway - 'Can you show me?' I've never been afraid to ask for help.

When I first heard about Beverly Hills Chihuahua, I thought, no. This, this is ridiculous. And then you read the script and you close the script and you go, "They aren't going to be able to do that with real dogs. How are they going to do that?" You're going to see the strings. But they did.

When I don't have to be at work, I want to be the real me - the comfortable me!

When I drank, the part that felt dangerous and needy grew bright and strong and real. The part that coveted love kicked into gear. The yes grew louder than the no.

When I first came out, I thought, I want to walk like a real woman, I don't want to do mincing steps. And there was some girl I saw walking up Holloway Road in Islington who had this long languid walk and I thought, that's what I like, so I incorporated her walk into mine.

When I first got into the first-year study after the Cultural Revolution, got into the same school with this group, I wasn't conscious of the so-called "Fifth Generation." I didn't like that kind of study condition because there's no real, true education there.

When I emerge from filming I feel slightly out of synch with real life, but it's also a relief.

When if comes to ballyhoo, Muhammad Ali made Barnum and Bailey look like non-starters, and he had the incandescent quality of the real star which would have made him famous, even if his gift was knitting not fighting.

When I felt rather overcome with [my father's] opposition, I said as firmly as I could, that I must have this or something else, that I could not live without some real work.

When I first started, it was the real basic stuff that was being played on the radio, so I was into Zeppelin, and Sabbath, and AC/DC, and all stuff like that. I grew up in New York, on Long Island, so the local radio stations played all that kind of thing.

When I first started the show, I was known as the 'cop nerd.' I was in the 9th Precinct in the East Village every day. I'd be at work wearing a fake bulletproof vest with foam in it, then I'd leave and put on a real one to ride around with these guys.

When I get intimate with my paintings, it's a real good spiritual thing to get off my chest. Same as playing the instruments is a great release.

When I first starting making beats, I didn't know samples were being used in any beats. I had no idea where producers were getting the real string sounds or the voices on their tracks. I knew nothing about loops or sampling off of records. So, by me knowing nothing about this it made me concentrate on my chords on the keyboard.

When I fought Montell Griffin, he quit on me, on the floor, I hit him with a soft punch and he laid down like I knocked him out, and it kinda upset me. I told him I don't care what it is, just give me the rematch. And then I really had to teach him the difference between acting like you've been knocked out, and getting hit for real.

When I get down to my last dime I'll just walk over to skid row." "There are some real weirdos down there." "They're everywhere.

When I get real bored, I like to drive downtown and get a great parking spot, then sit in my car and count how many people ask if I'm leaving.

When I get real big volumes of hate mail, it's usually because I wrote something poorly. But it's also because some group told people to e-mail me and those people didn't read the article, they read the post about what I wrote about. And they all e-mail me. And they all come around at the same time.

When I got my first check I was thinking my mother and father didn't make this probably in their lifetime. It's real amazing that some of us are just blessed.

When I got the script for Thelma & Louise, when I met with the director, Ridley Scott, I said, "I don't want to do a revenge film. I'm not interested in doing that moment in the script after they shoot the truck, where it says they jump up and down and they're real happy about it".

When I go into making a movie, personally, I don't try to bring other pieces of movies with me. I think that finding a character, relating to her and making her as real as possible means forgetting all of that stuff and just trying to find the truth, in that particular character's words.

When I first started rapping, when I switched my style to more like a punch line style - this is when I'm like 13 years old - and I switched it to this real wordy - I was trying to rap like Canibus and like Eminem. It was real lyrical, real wordy and punch lines and, when I would come up with these punch lines and spit 'em in these cyphers, the minute the cyphers would be like, "Ohhh" and everybody would break away, it was a new feeling for me. It was like, "Oh, yo, you see what I just did?" I was addicted to that feeling, and I still love that feeling.

When I got my braces removed, I felt more like a real woman, any traces of my childhood were stripped, just like the cold metal that inhabited my mouth for 2 years.

When I grew older and went my own way, MMA kind of stuck with me. I got to the point where I wanted to make something of it. I always thought fighting was fun, so I joined a gym and took it serious. I never actually thought I would be a real fighter, though. But I began to excel on the local circuit and I did well for myself.

When I got older I decided I wanted to be a real writer. I tried to write about real things. I wanted to describe the world, because to live in an undescribed world was too lonely.

When I go to see something I'm in, or my friends are in, it's like a home movie. When I just go to the movies and don't know anyone in it, then it's a real movie.

When I go to the cinema, I want to have a cinematic experience. Some people ignore the sound and you end up seeing something you might see on television and it doesn't explore the form. Sound is the other picture. When you show people a rough cut without the sound mix they are often really surprised. Sound creates a completely new world. With dialogue, people say a lot of things they don't mean. I like dialogue when it's used in a way when the body language says the complete opposite. But I love great dialogue I think expositional dialogue is quite crass and not like real life.

When I hear about some sensational new writer I sort of think, Shut up ... you've got to be around for a long time before you can really say you're a writer. You've got to stand the test of time, which is the only real test there is.

When I got this saxophone, it became a religion. There wasn't TV, there wasn't much money, and there was just a real dedication.... I never thought of it as an art. It was just work that I loved. Not just work, but work that I loved. I loved it so much, I would play it if nobody listened to it. Any jazz musician, if there's nobody around to listen, would play just for the sheer joy of improvising music.

When I got to France I realized I didn't know very much about food at all. I'd never had a real cake. I'd had those cakes from cake mixes or the ones that have a lot of baking powder in them. A really good French cake doesn't have anything like that in it - it's all egg power.

When I got to Performing Arts, within the first week, a few days, Bill Charlap walked in and couldn't read music but he's playing all these solos from Keith Emerson of ELP, and Rick Wakeman from Yes. Real impressive rock piano and keyboard things. And we had really, truly amazing young 13-14 year old classical players in our year who had been practicing six, eight hours a day for eight years. So it was like "Whoa.

When I heard that one in four women is affected by domestic violence in their lifetime, I was horrified. That's why this campaign is so important. A real man is happy to support the women in his life and appreciate them. My mother and my sisters are so important to me. Violence just doesn't make any sense.

When I hear him sing and see what he can do, though, it's always a reminder of why I look up to Usher as my mentor and why I will always be an Usher fan to my core. But I'm lucky to say that he's an even better friend to me than he's a mentor. He's truly the real deal.

... when I left the stage door and sought my orientation among real people I was in a wilderness of unpredictables in an unchoreographed world.

When I look at pictures from when I was younger, I think, "Holy crap, what the hell was I wearing?" I've made it a real mission to fully understand what fashion is all about. I love going to these shows because I love seeing creativity. So when I get to meet these fashion designers, I'm kind of like, "Where did you get the idea to make this? What were you thinking?" Some of that stuff is so crazy and loud.

When I listen to those tapes now, the real cocaine shows; there's just nothing special about their content.

When I know that Christ is the one real sacrifice for my sins, that His work on my behalf has been accepted by God, that He is my heavenly Intercessor - then His blood is the antidote to the poison in the voices that echo in my conscience, condemning me for my many failures. Indeed, Christ's shed blood chokes them into silence!

When I left 20th Century-Fox to freelance, my agent believed that getting big money was the way to establish real importance in our industry.

When I look at a person, or a character, it is in every case the beginning of an endless journey. And I don't suppose I know where that starts. I know that I have to, like every other person, make decisions and have opinions. But I'm real careful to not judge crassly or cheaply someone else's life.

When I look at asset prices; real estate, bonds, equities, vintage cars… I think that gold is actually one of the few assets that is relatively cheap, relatively inexpensive.

When I hear real faithful people - whether it's a real Christian, or a real Buddhist, or a real Muslim - I hear them use the language I use for a friend. So my metaphor for God is friend.

When I met Elvis, we didn't really have a conversation. I was introduced by my uncle, and he sort of grunted my way. What stays with me is the whole scene. I had never seen a real mob scene before. I was really young and impressionable. Elvis really did look - he looked sort of not real, as if he were glowing.

When I'm in the middle of a book it can go up from there. When you're putting in those hours, the real world kind of fades and the world you're creating becomes almost more real to you than the outside world.

When I'm filming I live out of a suitcase, so everything is thrown everywhere. In real life, I'm a bit tidier.

When I made Illmatic, I was trying to make the perfect album. It comes from the days of Wild Style. I was trying to make you experience my life. I wanted you to look at hip-hop differently. I wanted you to feel that hip-hop was changing and becoming something more real.

When I'm on camera, I have to do things pretty much the way I do things in everyday life. It gives the audience someone real to identify with.

When I met Johnny, I was pure virgin. He changed that. He was my first everything. My first real kiss. My first real boyfriend. My first fiancé. The first guy I had sex with. So he'll always be in my heart. Forever. Kind of funny that word.

When I'm not working out, playing football or working with Vita Coco, I'm a video game nerd. I love playing video games. I'm really good at FIFA. I'm not one of those guys that uses Barcelona or Real Madrid to win. My skills are real, so I don't need a loaded team to dominate. You don't want to play me in FIFA.

When I'm writing a comic book, I'm thinking about a character that I'm going to be drawing on the page. I've never drawn a character to look like who I want to cast in a movie because I don't think that way. I'm a real monomaniac. I do one thing at a time.

When I'm with my kids, I definitely try and be in the moment and wait till the end unless the mess poses a real danger, like slipping. But when I am cooking by myself, I definitely clean as I go to simplify.