Kathy Mattea Quotes
We rob ourselves of so much by focusing on the wrong stuff. And the ability to get into the moment and deal with what is, that's the real opportunity.
Quotes to Explore
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President Obama has contempt for real money.
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Sometimes the kids come up with better endings than the real story.
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We all know guys who've had their hearts broken in real life; we just don't usually see it in the movies.
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The talk about balance, nuclear balance, seems to me to be metaphysical and doesn't seem to be real at all.
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I worked with Stanley Kubrick for almost a year back in 1990, trying to develop the screen story for his project 'Artificial Intelligence,' which is about a robot boy who wishes to become a real boy, a future scientific fairy tale inspired in the myth of Pinocchio.
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If you get a guy that can play a couple positions, it helps you out a real lot.
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We know that the elements in play in a show like 'Confederate' are much more raw, much more real, and people come into them much more sensitive and more invested, than they do with a story about a place called 'Westeros,' which none of them had ever heard of before they read the books or watched the show.
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I have kind of a personality defect in that I find the word 'no' hard to articulate.
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Over my career, I've reinvented myself numerous times. I covered the Pentagon, the State Department, and the CIA. I wrote about labor wars, trade wars and real wars. I chronicled a nuclear plant meltdown and the defeat of Communism. I co-founded a couple of media businesses.
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It's real nice and exciting for me to break the records, but it's more exciting for me to be on a winning team.
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A failure is not always a mistake, it may simply be the best one can do under the circumstances. The real mistake is to stop trying.
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I always say that the real success of Wine Library wasn't due to the videos I posted, but to the hours I spent talking to people online afterward, making connections and building relationships.
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I feel that the greatest reward for doing is the opportunity to do more.
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I didn't necessarily have a total idea when I was writing the movie of where everything was going. I just wanted to have really realistic dialogue and write like people I knew talked. I tried to keep it very real.
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'The Wire' really drew on a lot of real-life situations and real-life organizations - it created fiction to make a social statement about reality.
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There's always the hyena of morality at the garden gate, and the real wolf at the end of the street.
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Last summer a second unit production crew went to France and shot scenes for several of this season's episodes. They shot costumed actors in and around real castles and landmarks, we couldn't possibly have duplicated here in Hollywood.
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Most of us can now record a whole series with the click of a button. We all have DVD players, and the rise of the DVD box-set means we watch this stuff in two, three-hour sessions. So there is this real appetite out there for lengthy, pretty intricate drama. All that is great news for writers.
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My father was furious with me, absolutely furious. I'm sure he wouldn't have been so mad if I'd have volunteered to join the army. Anything but this. He couldn't believe it. I agree with him: It wasn't a viable career opportunity.
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First you destroy those who create values. Then you destroy those who know what the values are, and who also know that those destroyed before were in fact the creators of values. But real barbarism begins when no one can any longer judge or know that what he does is barbaric.
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Network television is all talk. I think there should be visuals on a show, some sense of mystery to it, connections that don't add up.
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All I want kids to know is that I see them for who they are and not who everyone thinks they are.
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We rob ourselves of so much by focusing on the wrong stuff. And the ability to get into the moment and deal with what is, that's the real opportunity.
