Best 16412 quotes in «trying quotes» category

When I first began choreographing, I never thought of it as choreography but as expressing feelings. Though every piece is different, they are all trying to get at certain things that are difficult to put into words. In the work, everything belongs to everything else - the music, the set, the movement and whatever is said.

When I do short films, I try to do something completely out of my comfort zone, out of my element.

When I do research, I cast my net very widely and then snatch what feels right out of that. Occasionally I'll read a specific book for a specific book, but usually I'm trying to increase my general understanding.

When I first set out to ruin SNL, I didn't think anyone would notice, but I persevered because - like you trying to do a nine-piece jigsaw puzzle - it was a labour of love.

When I get the chance, I'm at the theaters all the time, trying to check out the latest movies.

When I first started, they were trying to get me into sitcoms - I think because I had that kind of Wonder Bread look and my hair always went into place. I kept saying, 'I'm not good at sitcoms. I don't know how to do that.'

When I get off a flight, I'm not trying to sit there and let them take pictures of me. I'm tired. I'm scratching my eyes. I just don't like taking pictures in general.

When I first started [taking acting classes] I sort of stuck my toes in but I was so nervous I didn't know if I could go all the way. I was so scared about it for some reason. The more confident I got with it, the more I just fell in love with it. I love going to work every day and trying to make the most of the stuff I've been given.

When I get a role, I try to delve as deeply as possible into the character.

When I get on the World Cup tour, I'm kind of disconnected from the world. I just kind of get wrapped up in my world and wrapped up in trying to ski fast every day, and I forget about everything else.

When I go on a nostalgia trip it's not aesthetic. For me it's about trying to recapture the smell or the feeling of something that I've experienced in the past personally.

When I first was trying to play the clubs around Houston to start playing my own songs, songwriters like Eric Taylor and Vince Bell and Townes Van Zandt and Don Sanders were just really encouraging to me and would let me sit in with them during their sets and introduce me to the person that owned and booked the club.

When I get home and turn on the radio, I hear songs that are new to me, but to everybody else they're old. I try to keep the music fresh in my head.

When I get interested in a new topic I teach a class on it. There's a graduate seminar I teach in which the students and I try to expand the terminology we use to talk about poetry as well as expand our notion of what makes a poem - we read source texts on architecture, dance, photography, film and the graphic novel.

When I get some budding young comic who'll come up to me and say, 'What was it like to do it in those days?' I try to be as gracious to him as Stan Laurel was to me.

When I have a low budget I always try to make it a lesson in economy.

When I go to shows, I'm really looking forward to hearing the songs I know. I don't like it when a band tries to expose me to new stuff.

When I grew up in the '60s, we were actually dominated by this, you know, sort of conforming '50s culture, even though we were like trying to express our own culture, like, the dominant culture was the thing that was forming us. And I think that that's true today.

When I graduated from high school, I had artistic and academic scholarships, and I was trying to figure out what to do. I decided to audition for the Royal Academy of Dramatic Arts, Juilliard and the National Institute of Dramatic Arts in Sydney, Australia.

When I have hiring power, I try to work with women in my camera crew as much as possible.

When I hear young people today complain about being bored - and the things that keep them from being bored are generally exclusively videogames and/or computer pastimes - I just try to encourage them to go outside.

When I hear Sam Cooke's 'A Change Is Gonna Come', it frustrates me because no matter how hard I try, I can never be that good.

When I learn martial arts, my master will have me try a punch for a week and he will keep saying, 'No, you don't have it. No, that's not right.' When he finally says, 'Yes, you did it,' it's a wonderful moment. You worked on it. You got it.

When I left South Africa in 1960 I was 20 years old. I wanted to try to get an education, and music education was not available for me in South Africa.

When I interview celebrities, I always try to throw them off balance. My favorite is to ask 'em about crazy sex stuff like donkey punches and Monroe transfers. Works every time.

When I look at my life and the lives of my female friends these days - with our dizzying number of opportunities and talents - I sometimes feel as though we are all mice in a giant experimental maze, scurrying around frantically, trying to find our way through.

When I look in the mirror I see someone who's aging now, and someone who kept a commitment made many, many years ago, and who today is trying to be an example for young women.

When I make my own music, there is no external producer. I just do everything as quickly as possible. I try not to overthink things.

When I'm directing, I really try not to be tied to anything. I don't even have the sides in my hands. I have other things - ideas that I want to make sure I don't forget or that I want to accomplish. The endeavor isn't about propping up the screenplay; but about the communal effort of exploration from a lot of different departments - the actors, the DP, the costume designer - all these people and myself.

When I look at the women, it's from a male gaze of being fascinated, because beyond my mother, I've been around notorious women all of my life, and then, secondly, when I look at women and try and create fictional stories around them.

When I look back at my paintings, they don't give me a sense of where I was when I first met that guy. They don't give me a sense of what I felt like when I first saw that original source material. They give me a sense of the world that I'm trying to create. And we all just have to deal with that.

When I look back, I was so mean to myself, and I was so uncomfortable in my own skin. I still feel that very loudly sometimes, but to try and really nurture that sense that you are your own friend.

When I look for what I'm going to listen to I go backwards. I'm always going the other way you see. Most people are trying to figure out 'how do I get in the fast lane going that way?'. I'm going in the other direction. I wanna find the oldest thing to do.

When I make music, it takes me two hours to get into the flow. To me it's like tapping into some kind of subconscious frequency: I just have to turn everything else off, open up part of myself, expose my fears and try to work through it in the music that I'm making.

When I'm asked about my work, I try to explain that there is no mystery involved. It is work. But things happen all the time that are unexpected, uncontrolled, unexplainable, even magical. The work prepares you for that moment. Suddenly the clouds roll in and the soft light you longed for appears.

When I made my theoretical model, I could not have guessed that people would try to realise it with Molotov cocktails.

When I'm a little fatigued, sometimes I baby it. I don't try to do it. I'm not 100 percent. I probably won't be the rest of conference play. I just have to play through it. I've never really been injured before.

When I'm doing a photo shoot, I'm not playing a part. I'm just trying to be myself.

When I make films I'm very intuitive; I'm instinctive. When you are shooting there's little time to think about abstract ideas, it's about getting things done, getting them right, and trying to channel the energies and get the best of whatever you have on your set. It's only once the film is finished that it's like, "Okay, let's try to figure out what happened." Try to figure out exactly what I did.

When I make music, I try to make something that is super colorful and something you've never heard before, so when you hear the whole album, it's a good feeling. Musically that's what I aspire to do whenever I'm making an album.

When I look back on the stuff I used to wear, I wonder why somebody didn't try to stop me. Just a friendly warning, "You may regret this," would have been fine.

When I'm constructing a poem, I'm trying to write one good line after another. One solid line after another. You know a lot of the lines - some hold up better as lines than others. But I'm not thinking of just writing a paragraph and then chopping it up.

When I'm designing I try to think about what I like to see on other people.

When I meet a fan, I always try to learn something about that fan.

When I'm filling notebooks I'm trying to pin down what I'm really interested in and to find those details that are so hard to come by, details that I can look at and believe are right on the mark. Things which bring a novel to life. They can take a while to come.

When I'm off the road, and I can really control my diet down to the calorie, I juice seven days a week. Every afternoon, whatever I have at hand, beets, carrots, ginger, whatever. I juice, literally, every single day. And on the road, I try to find fresh juice wherever I can.

When I'm in the classical world, I really treat it as exactly classical and I don't try and spruce it up or jazz it up or make it easier for the masses.

When I'm not working or promoting something, I try to be as under-the-radar as I can .

When I'm picking songs for an album I always want a song that I can relate to and that I have experienced. There's nothing worse than watching an artist try and sell a song that isn't believable coming from them.

When I meet people I try to make a joke out of my occupation, explaining that what I do all day is sit alone in a darkened room, flicking through some pages, jumping on a treadmill now and then. I keep my serious work as a writer private, but that doesn't mean it's not serious work - quite the opposite.