I don't think I ever really decided I was an artist. I went to college to learn how to think and look at art. In the end, I developed a more sophisticated misunderstanding of art.
I've just decided that I have to continue to live my life and do what I do. Hopefully, people love me because of who I am, not who I pretend to be.
Most of my life, I wanted to be a therapist, but then I just decided that I didn't want to be in charge of giving people advice. I want to know everything there is to know about psychology. But a therapist? No.
Honestly, after doing a TV show for eight years and a cartoon for more than a decade, you are, financially speaking, in a very lucky position where you don’t have to work for the sake of working. And I decided to take advantage of that.
I actually live a very mediocre lifestyle. So I decided to step back and do things not just for the sake of doing them, but because I believe in them and I want to do them.
Around eighth grade I decided I wanted to be a composer and that's what I went to college for. Just a few years back, I switched out of composition and into creative writing so I could work with words.
I decided that one day I had to make a film where the viewer couldn't possibly guess the end.
Europeans take their soccer pretty seriously. So, when this Turkish TV host had the nerve to criticize the local team, the fans decided to do something about it, something like storm the TV studio during a live show.
There was no "decision" per se to re-position myself. I simply decided that I wanted to write a book that would help people influence others.
I never decided to become an art forger. I was aware of my talent at an early age, and I used it foolishly. This developed over the years. In my heart, I don't see myself as a criminal.
You can't write a book if you've never read a book. And if you've read five books and you try to write a book, your book will mainly encompass the themes and the context of the five books you've read. Now, the more books you read, the more you can bring to a book when you decide to write one. So the more rap I learned, the more I was able to bring to rap when I decided to rap. But this was all subconscious.
If I was going to go into an office I wanted it to be with people I would choose to be around even if we didn't have to work together and so that was one of the major reasons why I decided out of all the different companies we invested in to work with Zappos.
The guys that write Once Upon a Time were major writers on Lost, and we had lunch when I started on OUAT and the first thing I said to them was, "I spent five years on Lost, you have to tell me, was my character good or bad?" They looked at me and said, "We have no idea." That's why you have to make your own backstory. I decided Widmore was the evilest of the evil, but in the end, not even the writers knew.
My experience came before most of you were born. My school was a state school in Leeds and the headmaster usually sent students to Leeds University but he didn't normally send them to Oxford or Cambridge. But the headmaster happened to have been to Cambridge and decided to try and push some of us towards Oxford and Cambridge. So, half a dozen of us tried - not all of us in history - and we all eventually got in. So, to that extent, it [The History Boys] comes out of my own experience.
I had no idea of who could play it, no notion really. Then Richard came to see us but I don't think it was decided at that meeting. The trouble is, as soon as you've chosen somebody it obscures anybody else you might have thought of. It's like going to a place that you've never been to before - you've got a picture of it and then you go there and that picture is totally wiped out by the reality.
Well I was about to be expelled from school, I had been arrested and a teacher said: "Why don't you try acting, instead of distracting the class? Why don't you use your comic talent for something more productive?" My maths teacher suggested I do comedy and I decided to have a go. I pursued it after that. I was about 17.
Tom [Courtenay] and Albert Finney met Ron Harwood on the dresser, so that's how it started. It's a wonderful documentary. It's called Tosca's Kiss and Mr Hardwood told me about it when I asked him what the genesis was. It was made in 1983 and Verdi, who was rich and successful, toward the end of his life decided to build a mansion for himself in Milan, where he lived, and he stipulated that when he died opera singers and musicians - because he knew so many who were no longer playing at the Scala and some were poor - could live there.
I decided a long time ago but sometimes it takes you 40 years to get around to doing something - and that's the truthful answer.
You're always in a tunnel that you can't see the end of. But there's something that took place on this movie that I don't think we expected and that was that once we decided that the entire cast would be real retired opera singers and retired musicians... and these people the phone hadn't rung for them for 20 or 40 years even though they can deliver.
I have a great respect for actors like Clint Eastwood, who's a wonderful director. I think two pictures that I directed were not successful, so I decided not to make any more.
I had already just sort of decided okay it's just never going to happen. So when they - when my name was called it was an out of body, you know, just glorious moment. It shouldn't mean that much. But, you know, I'd be lying if I didn't say that it meant the world to know that my peers appreciated what I was doing.
It was such a beautiful day I decided to stay in bed.
I decided to be the best and the smartest.
The court decided, based on its reading of our precedents, that the effects test of Lemon is violated whenever government action creates an identification of the state with a religion, or with religion in general, ...or when the effect of the governmental action is to endorse one religion over another, or to endorse religion in general.
Everything is always decided for reasons other than the real merits of the case
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