Best 8906 quotes in «different quotes» category

Whenever someone comes up to me and says, 'I'm having trouble shopping.' I tell them to pull out their 10 favorite, most-worn pieces, then build a wardrobe around them. Those staples are going to be different for everybody.

When fans get very passionate about a movie, they just want you to do it well. They don't want you to screw it up. Their idea of doing it well might be different than yours, but ultimately, they really just don't want you to mess up the thing that they love.

When father was younger than me he came to New York to be in musicals and was in a number of them. But he, at that time in his life, didn't feel he could fully commit to a creative life - he had this voice in the back of his head that said, "I need to make money." So that propelled him to open up an ice cream parlor, which then spawned into a number of different food businesses and took over his life for 20 years.

When Ford sells a car, a dealer isn't allowed to take out the engine and put a different one in. When a newsstand sells the Washington Post, no one can go to the newsstand and pay them to rip out the classified section and put their own classified section in - if they could, they would do so.

Whenever you step out of the noise of thinking, that is meditation, and a different state of consciousness arises.

When I admire a writer, it's for the recognizable palette - Hemingway's minimalism, the dialogue, those isolated bar scenes. But with each story or novel, he shows me something different within the framework he's built - like noticing that there's a chair in the corner I didn't see in another story.

When I came out of the Depression, I came out of it with a different point of view as to what constituted success. And that was even just even personal success.

When I am directing, it is much, much, much, much, much different. I'm a much more practical person in the world, I show up on time, I am very rigorous about scheduling, and I am very focused. But when I'm writing I am just a big, irresponsible mess and I'm just impossible to get in touch with, and I don't spend time with friends.

When I auditioned actors I never make them act. I choose a long symphony, then I tell them to sit down and I play the symphony for them. Then I sit and I look at them. I always pick a piece of music that has up and downs, very dramatic parts, very quiet parts and really sensitive parts so that it can produce different emotions.

When I decided to go for four gold medals I planned it out over a few years. It was in four different events and there was a lot to it.

When I date different guys, I just have to stay away - and not let myself fall. Because if I do, it's over.

When I did a Love Boat, it would go to so many different countries, and I would travel there and get this incredible response!

When I dive, I dive into a different dimensional plane. I am not in this world anymore. Someone might see the body, but the spirit has left. It has gone everywhere or nowhere.

When I face the media, maybe I don't feel it now, here with you, because it's a different sort of interview, but when I face the media before or after the game, I feel it as part of the game.

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 feel something in my gut, I can feel it physically. But my instincts seem to come from a different place - they feel headier to me, and I get the wrong scent, and go off on these whims where I think that something is happening when it's not.

When I finished Westlife, we had - Louie Walsh is still managing me - I was lucky to have options from different labels such as Sony and Universal. When we met Capitol and Nick Raphael, I just believed in them the most, and it looked like they believed in me the most.

When I first asked to take pictures of women at their homes, I was using my formal camera and I struggled to get the shots because I was still very much in the role of the photographer. Then the next time I had this little digital camera and their response to me would be completely different - I was a friend and I got new kinds of pictures. I was always treading a line between photographer and friend.

When I first met Benny Goodman he wouldn't talk about anything but clarinets, mouthpieces, reeds, etc. When I tried to change the subject, he said 'But that's what we have in common. We both play clarinet.' I said, 'No, Benny, that's where we're different. You play clarinet, I play music.'

When I first started making films 30 years ago, people would comment that I was a woman. But strangely, when I was in television, no one ever mentioned that I was a woman. Maybe it was because television and film were different. There were more women working in television than men. There was no split in terms of work - everyone was considered equal

When I found somebody who I fell in love with, it made me feel different than I felt the rest of the day. It was electrifying.

When I first started out, I said to myself, if this doesn't happen there will be something else that I can do. That seemed possible because I knew how to do so many different kinds of jobs.

When I first started working, I was very aware of the fact that I'd been to university and studied Russian and French and not acting. So when I started working, I'd started working quite young, I felt like it was important to treat myself kind of like an apprentice and do as many different types of things as I could.

When I first wrote for orchestra, I didn't realize, when you have 20 people playing a violin line, that is very different than one person playing that line.

When I found somebody who I fell in love with, it made me feel different than I felt the rest of the day. It was electrifying. That's what inspired the 'Off to the Races' melodies. That's one of the times when you're feeling electrified by someone else and they make you happy to be alive.

When I give a concert, I know they're not going to hear everything; there might be a lot going on. My individual perceptual and cognitive path through the music is just that: one path through music. My experience will be probably at some level different from other people's, and that multiplicity of experience has to be supported by the music. I might just focus on the cowbell the whole time - maybe I have a fever for more cowbell!

When I go out and I'm presenting the best side of myself, I want to look different from everyone, but I don't want it to look like I'm wearing a costume.

When I grew up in Seattle, by the way, in the 70's, it was a fishing village. There were loggers and fishers and my dad had a sewer company and it wasn't the way Seattle is now. Culturally, it was very different back then.

When I grew up, there were no teletypewriters or video calls, so I primarily interpreted phone calls. At that time, where I lived, it wasn't embarrassing to have Deaf parents; it was cool to be able to speak a different language than everyone else.

When I go to a great movie, I can live somebody else's life a little bit for a while. I can walk in somebody else's shoes. I can see what it feels like to be a member of a different gender, a different race, a different economic class, to live in a different time, to have a different belief.

When I had my child, I planned on being with the woman I had him with for the rest of my life. If that doesn't work out, you have to see things from a different perspective.

When I have a writing workshop, I like to have people that are anthropologists and people who are poking around in other fields, I like to have them all in the same workshop, and not worry about genre. I like to mix it up, because the kind of comments you can get from a fiction writer about your poetry are going to be very different than what you'll get from a poet. Or the comments you'll get from a filmmaker about your performance are going to be very different. My writing workshop is about mixing it up, cross-pollinating, not only in genres but in occupations.

When I go to the cinema I watch all different kinds of films.

When I got started in New York, if you were different from Miles & Dizzy it was very difficult.

When I go to Bali, when I come to India and travel and see different cultures. I make sure I'm involved in the world out there, creatively, culturally.

When I look at music, everything is blurred, and I like it that way. I grew up like that, hanging out with different types of people who listened to so many different types of music. I never wanted to be part of any one clique. I loved it all.

When I initially read the script, it goes inside and comes out different things even without commenting on any stuff. And then, those pieces are taken out and then spread out through the movie.

When I listen to a symphony I love, I don't get from it what the composer got. His 'Yes' was different from mine. He could have no concern for mine and no exact conception of it. That answer is too personal to each man. But in giving himself what he wanted, he gave me a great experience.

When I looked at her, she appeared to be a different person from the one I'd known... She had rewritten everything, our history together, our friendship. Now I was the girl who'd stolen Andres; the girl who'd lied to her about who I was. Therefore, she owned me nothing.

When I lost my weight, I went and bought about 15 different types of underwear to see what would look good on my new body. It's exciting!

When I'm doing a one-on-one with somebody, I have to speak in a language that that person can understand, using a vocabulary that they instantly get, and I always have to feel my way around to figure that out. It's a lot of fun, and it's also really challenging - challenging in a different way from performing.

When I look back on my career, I go, 'This is really great, I've played so many different women.'

When I'm 32? Hopefully I'll have made my mark with a few different movies, some scary ones and some comedies. I'm really funny, I have a great personality on the camera.

When I'm writing my album, it's totally my world. Even though it's myself and another producer creating the project, Conceptually it's more under my power and on my own terms. At the same time, it's a different type of pressure because I'm ultimately speaking, I'm solely responsible for the end result.

When I'm on the net, someone always wants to chat with me. But outside of MySpace, it's a completely different world. I don't get recognized that much on the street.

When I'm in heels - and I live in heels - I take on a different posture, a different attitude, different energy.

When I'm inside the character, I feel like I'm a different person, and then when you see that character on screen and I see that it's me, I find that disappointing.

When I paint I do a different thing than when I design. But both involve aesthetics, both involve thought, both involve planning.

When I perform outside, the major problem that could arise is strong wind.I spend months preparing for the types of wind that occur in different locations.

When I'm choosing projects to be a part of it's always a combination of so many different things. The primary thing is the director. But a very important element is, is it different enough from anything else I've ever done, or what I've last done.