Best 10564 quotes in «moving quotes» category

I knew I couldn't live in America and I wasn't ready to move to Europe so I moved to an island off the coast of America - New York City .

I kind of talk about songwriting in the sense that it's really not my job to try to state hard truths. I'm not out to say this is what truth is, this is what's false, this is reality, this is not reality. What I prefer is to try to create a space where truth can move.

I kind of just lost track of laps. I couldn't hear a split. It was just so loud in here everyone was going nuts. I sort of felt like I was a little tired and I said, the people in front of me seem like they are falling off the lead pack a little bit. I should probably make a move. I hear ding, ding, ding, ding and I thought "oh crap! I've really got to go, I've got a lot left.

I knew that I wanted to live in a city, but had never really been to New York. But I was begging my parents as a kid to move to New York, so it was just something that I sort of knew from a young age.

I knew that I wanted to pursue acting as a profession during my sophomore year of college. One of my Professors (Karen Deacons-Brock) at N.C Central University assigned me to perform a one woman show for my final project and it was then, along with her encouragement, that it was time for me to move to NY in pursuit of a professional acting career.

I knew that there was an upcoming screening where not only were we going to show it to everybody else at the studio, we also needed to move into production... And yet I was sitting there in editorial going this is not working. I'm a failure.

I knew someone had to take the first step. So I made up my mind not to move.

I know from my own life that you can’t move forward unless you reach out and deal honestly with the past. The truth is that when it comes to race and class, Boston has a lot of unfinished business. We must not be afraid to talk about it.

I know club music has to be infectious and it's got to make you move.

I know all we're doing is travelling without moving. Speed freak faster than a speedin' bullet, slow down. If I don't, I might just lose it, locked up. You've got me honey, locked up under heavy brakin', yeah. You know I've got to hang on, drive too fast, I might be last.

I know I'm happy and can't wait to see where my career will go next. This isn't the end for any of us. I can understand why they are upset but I want them to move forward and look for the future.

I know that I have to move from speaking about Jesus to letting him speak within me, from thinking about Jesus to letting him think within me, from acting for and with Jesus to letting him act through me. I know the only way for me to see the world is to see it through his eyes.

I know that if I can't move people, then I have no business being an actor.

I know that if I do the right amount of, say, meditation and hot yoga or something, I can move the energy through my body and get rid of my cold within twenty-four hours.

I know that I'm capable of moving around on the guitar. I can express myself the way I want to and feel good about it. But as far as technical chops, I'm not a learned musician.

I know that no matter how lonely I get, I'll never be truly alone again. Our loved ones don't leave us. They just move out of sight for a while, and wait...in the shades.

I know that some of the folks in the press are uptight about this [moving the press corps out of the West Wing ], and I understand. What we're - the only thing that's been discussed is whether or not the initial press conferences are going to be in that small press - and for the people listening to this that don't know this, that the press room that people see on TV is very, very tiny. Forty-nine people fit in that press room.

I know that the right kind of leader for the Labour Party is a desiccated calculating machine who must not in any way permit himself to be swayed by indignation. If he sees suffering, privation or injustice he must not allow it to move him, for that would be evidence of the lack of proper education or of absence of self-control. He must speak in calm and objective accents and talk about a dying child in the same way as he would about the pieces inside an internal combustion engine.

I know that words cannot move mountains, but they can move the multitude - we've proven that time and time again. People are more ready to fight and die for a word than for anything else. Words shape thought, stir feeling, and force action. They kill and revive, corrupt and cure.

I know when I've been playing a lot of golf it takes me a while to get back into cricket again. It's not so much the different shape of the swings, more the fact that you are stationary when you hit a golf ball. In cricket you have to move forward or back, which is an instinctive timing thing.

I know who I am as an artist and I know what my sound is, but I wanted to know what I could do in order to take it to that next level. So the experiences I had last year of moving to California and traveling to places like Rome and Nicaragua where I met a lot of people just had a really big impact in my life.

I know this is a bit redundant, but it is really hard to explain just how loud Tiger Stadium is when you're standing on the field. The crowd is moving and swaying so much, and in so many directions, it makes the stands look blurry, like a pointillist painting.

I know there were periods of times where I didn't feel understood, and there were very few people around me that I felt like they really got me. There was one person who was sort of the one in my life that really got me.In general, I felt a little bit on the outside and not totally included. There was a period of time when we were moving around a lot. So I couldn't really hold on to a certain set of friends. And so that was a little bit difficult.

I know well the delectable thrill of moving into a new house somewhere altogether else, in somebody else’s county, where the climate is different, the food is different, the light is different, where the mundane preoccupations of life at home don’t seem to apply and it is even fun to go shopping.

I learned early in my life that sometimes I'm going to lose. I don't like it, but I accept it, meaning that I understand it's going to happen. But I don't see it like defeat; I see it like a learning process. Then if there's nothing to learn, I move on.

I learned a valuable lesson doing 'Mr. Sunshine,' which is that I didn't want to be in charge because it's too much. Being in charge and acting in every scene was just too difficult. It's like eating dinner in a moving golf cart every night.

I lay down across her with my face in her breasts and my hand on her. We lay there without moving. But under us all moved, and moved us, gently, up and down, and from side to side.

I lay there for three whole days, totally paralyzed. My friends helped me to the bathroom and anywhere else I needed to move; but I have very vague impressions of those days because it was a time of complete darkness for me. Somebody told me later that what I had was a form of hysteria: my body and my mid fled into paralysis. There was nothing wrong with me organically, but somewhere inside I suffered a complete breakdown.

I learned that there are two things that kids really like: movement and love. Happy kids move; unhappy, they don't move.

I learned that when something just has to be said to move the discussion along, or broaden it or deepen it, if I can just keep my mouth shut for five minutes a student will say it. So for me a lot of teaching is about keeping my mouth shut.

I learned to pick up each piece, one at a time, from my pile of potential matches and try to fit it from any angle into the socket, then discard it and move on. Each failure is meaningless. It's not me, it's the pieces, and I have to, absolutely must, try each and every piece every possible way until I find one that fits. They aren't failures, they're steps, small bits of progress.

I learned to slip back and forth between my black and white worlds. One of those tricks I had learned: People were satisfied so long as you were courteous and smiled and made no sudden moves. They were more than satisfied; they were relieved -- such a pleasant surprise to find a well-mannered young black man who didn't seem angry all the time.

I learnt a blend of different martial arts - not in great depth, obviously - but various moves such as kicks, blocks and punches. It was all quite fun.

I left Chicago many years ago to move to California. You can't help but live a healthy lifestyle here if you want to fit in. I find myself eating chicken and salad and chicken and salad and salad and chicken, like a monk.

I left the government because I saw the only way to get family planning moving, was to do it outside the government. I was never disillusioned with government.

I light candles. I meditate. And I don't believe in anything. By default I move simultaneously towards mysticism and atheism. It's not something that's ever going to get fixed.

I left the jutra to chop wood. I began my walk through the snow, five kilometers to the tree line. That's when I saw it. A tiny silver of gold appeared between shades of gray on the horizon. I stared at the amber band of sunlight, smiling. The sun had returned. I closed my eyes. I felt Andrius moving close. "I'll see you," he said. "Yes, I will see you," I whispered "I will." I reached into my pocket and squeezed the stone.

I like "As Long As You Love Me" and "Boyfriend" by Justin Bieber. It gets you moving - you just can't help it! And "Teach Me How to Dougie" gets Zendaya and I every time.

I like comic conventions. I genuinely like comic conventions. I like wandering around from table to table; I like wandering up and down Artist's Alley and saying "Hello" to people. I like hanging out on the DC booth. I can't do that anymore. I'd like to, but I can't. I physically can't. If I stop moving, somebody will come up to me with something to sign, and if I sign it, somehow it's like ants sensing sugar. There will be fifty or a hundred people around me and then fire marshals will come and then I'm trapped in a crowd. It's bizarre.

I like books that have razor-sharp plotting that snaps and moves along. It's not about the main character being different at the end. I don't want my main character to be different in the end. I still want him committed to his ideas, to be steadfast, true and loyal

I like each of my books to be different. Once I've done something I like to move on and push myself to learn new things and expand the limits of poetic form.

I like men who are very cool but also so brilliant that they are almost insane. Sean Penn, Gary Oldman, Tom Waits - men who would be flipping burgers if they hadn't found an outlet for their brilliant mind-sets. I also like men who have hands with big masculine veins that you can squish and move.

I like my small camper. I just do not want to return to a fixed home. I cannot stand being in one place. I must keep moving.

I like it to be quiet, and it usually occurs in the morning. There are three or four places in my house where I can write and I like to keep moving around. The moment I find myself falling into a necessary routine, I change it. I'd rather not accumulate superstitions.

I like it when people are kind and I like people who are looking for collaborators. Sometimes you can feel like a moving prop, and that could be amazing, you can be a prop in somebody's incredible vision, but I'm more interested in people who are looking for actors they can collaborate with and make something together with. I like stretching myself, I like trying new things out, but I'm really interested in working with directors who have a very specific style and a unique way of working.

I like not thinking when I am working. I thrive on that feeling of attempting to move on total instinct and inner feelings... that to me is "soul"; soul music. Almost everyone else uses a great deal of thought processes... they are idea men.

I like many Americans are frustrated by a lot of things in the world and I would like to be a part of the dialogue moving forward to make this a better world for everyone.

I like poor materials. I couldn't see myself making a bronze sculpture - it's not me. I like neon, because it's moving constantly and like drawing. The chemicals going through the neon turns me on really - it's sexy. I like fabrics, but one of the main things with objects is that I really have to love them before I can use them. I have to have the object around me a long time. The little chairs I used in my last White Cube show are ones that my dad bought for me. A sort of a psychometry with objects and things. It's like the pieces I've made are my things.

I like the little chess match of how people move through space. I'm not comparing myself to Michelangelo with this analogy, but he said when he sculpts it's like finding the sculpture within. It feels that way when you are with actors, too. There's a natural way to do this with a natural language that flows and feels like real people talking. And you've just got to find it. So I enjoy that part of the process.

I like the idea of having a film that is choreographic in all its aspects, not only in the dancing scenes, but also in the way the camera and the characters move in order to have that feeling that it's always musical.