I had such an intense relationship to every person. I still see people on the street and we lock eyes, and say "Oh my god!" and we just kiss and stay like that and sometimes cry.
I keep my eyes wide open all the time.
If you were to close your eyes and walk into a place of worship, the sounds and smells would alert you to where you were: ringing bells, incense, the rumble of a massive organ. Most brands are lacking these sensory stimuli.
In real life, people are going by fast and it's hard to draw them from my eye alone in a split second.
I feel like my eyes are killing me at the end of the day and that I shouldn't use them.
I hate it when, in films, the girl looks perfect in every shot. It's quite nice if there's a bit of dark circles underneath the eyes, if we see the reality of the situation that the person is going through.
I keep my eyes and heart bent toward Jesus, therefore no human response can distract me from the Kingdom agenda.
Hopefully the rappers can start to open the eyes in the neighborhoods and communities.
I never tried to crossover or be in the public's eye everyday. I'm laid back with it and at times I wondered if I was doing the right thing promoting myself staying back a little bit and coming out when I felt that I had too. But when I get all the accolades and hear the things people say it just puts it all together for me man. It's a blessing.
I loved the hood and still love the hood but I had to realize like Ra you a rapper now you're in the public eye.
I hadn't performed or been in the public eye for about 16 years. When my husband passed away, I was obliged to go back to work to take care of our kids. I also wanted to do a record in memory of him. So we did Gone Again. During that process, I had to be photographed and had to go back to doing articles and interviews.
I actually had another motivation for letting Steven [Sebring] film us. After I'd been out of the public eye for 16 years, lost my friends and lost my husband, some of my confidence had been undermined. Steven made the process of filming fun; I could pretend that we were in something like Don't Look Back.
The eyes, hands and body movements are important to make the dance sexier.
I'm the maknae. All my clothes are picked by my stylist because I don't have an eye for fashion.
There is something that you have that no one else ever had ... When you watch Kirk's [Douglas] performance in anything, in anything he's ever done, you cannot take your eyes off of him. It's not possible to look away from him.
I think Allah (swt) has given me the ni'ma of this voice, for which I use for Allah (swt) and his Prophet (pbuh) to read nasheeds. That is a certain kind of music, which is pleasing in the eyes of Allah (swt) and His Prophet (pbuh). And if people can start listening to it, I think that is a great service to the ummah. Keeping that in mind, that now has become a priority.
It was a fabulous experience shooting [in the Aviator], working with Leo [DiCaprio] and Danny Huston in the scene. It was great. I think what was most eye-opening about it was that [Martin] Scorsese was just like any good director you work with.
If you look at the Olympic graphics for Mexico or Los Angeles, those programs don't look contemporary by today's eyes but they really look like they are of their place and time.
I was extremely frustrated, almost at the point of giving up on coming up with a name for the project (because I'm awful at it), when I decided to play the 'put a pen somewhere on a map with your eyes closed' game with South Africa. About the 5th try was St. Lucia in South Africa, which coincidentally also happens to be an idyllic sub-tropical seaside resort town. The name seemed to fit with the mood of the music, and so after a while it just stuck.
It was a real eye opener and I'm really pleased that I spent a year out there [in Real Madrid].
After directing the first film it feels kind of tricky being back to being in front of the camera, because I've always got one eye over there, kind of thinking of what they are doing, and how the shot is being composed. I think it takes a couple of films to just get back to just being an actor.
I think Douglas [Adams] is writing with an eye to irony for adults at the same time as entertaining children.
I think it's a confusing, tough thing. I mean, I can imagine in this situation. Being a single dad myself now and trying to do the right thing in your children's eyes and in the eyes of your friends and family and all that and then at the other end of the spectrum, you're also trying to date and you want to be yourself and you want to let go.
I had an opportunity to move to L.A. back in 1999 and start up a horse racing network of all things. At the time, I was younger and married but didn't have kids; so we thought, Let's just go to L.A. for a while and have fun, and we can always come home. One thing led to another; and once I was out there, I had my eyes opened to this other world and quickly got a home and gardens show and did a game show and then The Bachelor ended up falling into my lap in 2001. And 'the rest is history' as they say.
There are actual communication systems being built to enable eye surgeons to get inside the eye, and vascular surgeons to get inside the arteries. You could see a social reaction in which people would want to regulate this technology because they are threatened by it, and thereby cause a lot of harm. There are several scenarios that are happening at once. The other scenario is that the Japanese are going for this in a big way.
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