A piazza is not a plaza. The plaza is the theme park of the piazza; the plaza is the commercial version. A piazza is an empty space with no function. This is what Europeans understand.
I was doing a play out in L.A. 20-some-odd years ago called 'Goose and Tomtom' by David Rabe, and somebody saw it and the next thing I know I'm doing the table read of the film version of 'Glengarry Glen Ross' with Al Pacino and Jack Lemmon - one of the great films of our generation.
But none of that kept me from picturing what a tsunami might look like if it did rise up and roar toward my little boat like some watery blue version of the Great Wall of China.
I went on iTunes and looked at versions of Christmas songs. Everyone has done them!
My bedtime was 8 P.M. But on Cosby nights, I got to stay up until 8:30. Real big deal. This is when they could afford to do a completely different title sequence in TV every year. I always looked forward to that. It was like a mini musical at the top of the show. My favorite was the Top Hat fancy version.
I played a little basketball, but basketball interfered with theater season. That's when we did our term plays and did nutshell versions of Shakespeare for English classes. And, believe me, I got a fair amount of looks from the guys on the team. 'You're in theater but you can play football?'
All over the world, girls are raised to be make themselves likeable, to twist themselves into shapes that suit other people. Please do not twist yourself into shapes to please. Don't do it. If someone likes that version of you, that version of you that is false and holds back, then they actually just like that twisted shape, and not you. And the world is such a gloriously multifaceted, diverse place that there are people in the world who will like you, the real you, as you are.
Yes, Manila had its slums; one saw them on the drive from the airport: vast districts of men in dirty white undershirts lounging idly in front of auto-repair shops - like a poorer version of the 1950s America depicted in such films as Grease.
I like to think of my books and the movies of my books living in two separate universes. Each is very nice, but only one is correct - the book. But that doesn't mean you can't enjoy the other versions, and I always do.
All of us create our own versions of an event, of our lives, even, not because were liars, necessarily, but because we can only see and understand the truth from our own viewpoint, and a shifting viewpoint at that.
Love is vivid. I never wanted the pale version. Love is full strength. I never wanted the diluted version. I never shied away from love's hugeness but I had no idea that love could be as reliable as the sun. The daily rising of love.
When I teach writing, I have a mantra: Be a first-rate version of yourself, and not a second-rate version of another writer.
I'm sitting in the drive-through and I've got my three girls in the back and this station comes on and it's playing “Jailhouse Rock,” the original version, and my girls are jumping up and down, going nuts. I'm looking around at them and they've heard Dad's music all the time and I don't see that out of them.
I feel like I owe it to the readers to try to pull back the veil and give them the honest version of what's going on. But it's not more fun. If Obama, as he does sometimes already, gets a little snippy with me about something I've written, you're thinking, 'Oh God, the president of the United States is already annoyed with me.'
I'm a self-taught musician so how I read music is kind of very weak and I kind of read my own version of tablature, I write my own crappy reminders on what I'm playing.
We always make the mistake, the fatal mistake in the case of military people, of imagining that each war will be a kind of version of the one that happened previously.
All three parts of filmmaking [writing, shooting, editing] contribute to rhytm. You want the script to be a tight as possible, you want the acting to be as efficient as possible on the set, and you have enough coverage to manipulate the rhythm in the editing room, and then in the editing room you want to find the quickest possible version, even if it's a leisurely paced film. I definitely in filmmaking more and more find writing and directing a means to harvest material for editing. It's all about editing.
I would go to these 'Supernatural' conventions because, well, one, it's like going to your own version of Disneyland. You're adored for an hour or whatever, and then you walk out and you're nobody again, but, boy, when you're there, it must be what it's like to be Brad Pitt all day, you know? You're the best thing going. And it pays pretty well, too! But I was concurrently loved and hated by everybody, because the suspension of disbelief is, uh, pretty high among 'Supernatural' fans.
That's not a role you prepare for. There's no preparation. You don't have time to prepare for the reading of an audiobook. You do the reading of an audiobook in basically two days' time - an unabridged version, maybe three days.
I was interesting in discovering more about [Elizabeth Taylor], and I always tried to focus more on the woman than the legend or the icon and everybody's own individual version of what that is. She was badass! Really strong. And eccentric and fiery and powerful and clear and blunt. Spoke like a sailor. She was extreme, but she had the ability to love again and again and again and still believe in it every time.
If you are with the right person, it brings out the best version of you.
I think by around the time I was about 8 or 9, the idea of filmmaking probably took hold. I made little Super 8 extravaganzas when I was a kid, the first being my own version of Romeo and Juliet, and where I played all the parts except for Juliet.
The real test is this one: When you're alone in a room, when you're in a private place and nobody else can see you, what do you choose to do? Eat well, or eat poorly? Exercise, or watch television? Practice something, or do nothing? The best version of the truth appears to you and you alone, when nobody else can see. This is the test of discipline, and it's what makes the difference in your life. It's what regulates your own system and guides it. The individual alone comprehends it.
I read Holes in 10th grade, and I havent read a full book since. The movie version with Shia LaBeouf was OK, but the book was way better.
Surround yourself with people who are the ketchup to your french fries-they make you a better version of yourself. Yes french fries are amazing on their own, but combined with ketchup they are a force. Spend time with people who bring out your true flavors, but don't overpower you.
Follow AzQuotes on Facebook, Twitter and Google+. Every day we present the best quotes! Improve yourself, find your inspiration, share with friends
or simply: