I think to be a good teacher you need an enormous amount of patience and I'm a very impatient person.
Paul Gleason played the teacher. I just tortured him as best I could. 'Cause he wasn't one of the kids, you know, so it was okay. He was great.
We must invest in tomorrow. And pay our teachers for teaching as we pay our coaches for coaching.
Books have always been important to me - my mom was a first grade teacher, so I grew up reading all the time.
We need more good jobs, and that means we've got to start educating young people, starting literally in the first five years of life making sure that every kid in every zip code has good teachers and good schools, making college affordable, helping people pay down their debt.
That's what we do on "MasterChef," on "Junior." No school teachers, no parents, let it go. You're going to go on a challenge. We're going to go to hell and back, and we're going to have some bumps.
What you're experiencing now [on "MasterChef," on "Junior"] is what life's going to be like for the next four, five decades. You're going to go through those bumps. Bringing you back in contention and giving you that kind of confidence, they're huge. But they let it go, there's no fear, they're naughty, they're rude, and they know there's no parents and there's no school teacher so they can have fun, and it shows.
[My maternal grandmother ] was a teacher in London and elsewhere during the war, although the children she taught were not the "lost children" who feature in the novel - those come from my research.
Populists hate journalists, they hate teachers, they hate lawyers, but they tend to like rich people. There's something deeply consistent.
I never lose sight of the fact that before I was a writer, I was a teacher. I still am. My classroom's just gotten a little bigger.
I had the opportunity, as a child, to grow up in a community center where I was exposed to theater, music, art, and computer science; things that I would have never had the opportunity to even meet had it not been for those people taking time out of their schedules, helping us as children to travel all over the world while sitting in a gymnasium. That's what I did before I was a musician, before I was a recording artist, I was a teacher and a community leader.
I come from a long line of matriarchal women, and my greatest teachers were my mothers.
We often hear the teachers of all creeds lamenting the difficulty of keeping up in the minds of believers a lively apprehension of the truth which they nominally recognize, so that it may penetrate the feelings, and acquire a real mastery over the conduct.... When it has come to be a hereditary creed, and to be received passively, not actively ... there is a progressive tendency to forget all of the belief except the formularies ... until it almost ceases to connect itself at all with the inner life of the human being.
I grew up in this Southern Baptist atmosphere, and my mother and father were both, I guess you would say, academics. They were both teachers.
Many of my family members are teachers in the arts, and I picked up the camera years ago, in high school.
I had a fantastic teacher in high school. I had one of those guys you dream of having, who molds your life and inspires you to go in a particular direction, and he was quite brilliant. His name was Cecil Pickett, and a lot of the kids from my high-school drama class are in professional show business and have done quite well.
I got a job as the Visuals Art's Teacher at my Alma Mata, St. Mary's College. Then my interests shifted to animation. Ironically, it was one of my students who sparked this energy in me by introducing me to an animation program called FLASH. So I dabbled and played around with it.
I also got encouragement from my teachers at primary school but one person in particular who had a significant impact on my lean towards art is Mr. Luigi St. Omer. Mr. St. Omer was the one who always reminded me that I should not settle for less than greatness in my art. He saw that I had the potential and he helped me develop that talent.
I didn't see [Luigi St. Omer] as a teacher. I saw him as a comrade I respected and I could go to see anytime something was bothering me. He was indeed my "big brother". He praised me when I did something exceptional and scolded me when I did things which were out of the way.
As a visual arts teacher, I have to keep my mind open. I have explores styles from pointillism to cubism.
The First Man is completely autobiographical. The mother [Albert Camus] describes is the woman I knew, and she was exactly as he describes her. And this teacher really existed.
[Albert] Camus writes his acceptance speech for the Nobel Prize in thanks to his teacher.
Recognition, gratefulness exist.[ Speech for the Nobel Prize] is to show that this is what has come from what [Albert Camus] teacher did for him. And also throughout the world there are Monsieur Germains [his old schoolteacher] everywhere. That's why I published the letters, so that he could have a place in the work.
Obviously, ["Fences"] is a character-driven piece in every sense of the word, and Denzel [Washington] knows the actor. He gave us two weeks of rehearsal. He is a truth teller, and he is a truth seer. So he knows when something is not going in the right direction, and he will call you on it. But, he knows the word to use to unlock whatever is blocking you. So I think he's fabulous and he's a teacher.
Lloyd Richards is another director who was like that, who was a teacher.
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