Bobby Moynihan Quotes
I was a bartender at a Pizzeria Uno's for nine years. The people I worked with were amazing, but it was quite possibly the most miserable time of my life.
Quotes to Explore
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I grew up in a very large, poor family.
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Everybody's an artist. Everybody's God. It's just that they're inhibited.
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You should only have so many accessories. You have to make sure you have the right ones at the right time.
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The musket could not be aimed except in a general direction; a bow in the hands of a skilled archer could regularly hit and kill an enemy completely beyond musket range.
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I think the biggest part of a good party is the host and then going around making sure nobody's left alone and knows enough about the people in the room to know who to introduce to whom.
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When I first got Yves Saint Laurent Couture, I didn't know how to take off a cape. I would ask Katoucha and Dalma - the real divas of the runway - 'Can you show me?' I've never been afraid to ask for help.
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We have to think about the future and what it is we want to accomplish from this party.
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I went from being an ailing child to a public enemy.
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The girl-next-door image is a sort of joke; for years, I couldn't get any roles other than as somebody dark.
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I played didgeridoo from a young age - on the vacuum cleaner, initially.
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I went to high school in New York City. So, I grew up in New Jersey my whole life, and I was watching all the people and all the kids that I met there become so jaded.
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When I was living in New York, there was a lot of screaming in my life. I would just get into these altercations all the time. Being in public, dealing with shopkeepers, just trying to cross the street - things like that.
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The more I've gotten interested in writing about history and making sense of myself within the continuum of history, the more I've turned to paintings, to art. I look to the imagery of art to help me understand something about my own place in the world.
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I have cut four albums so far, and all of them have been trendsetters and commercially successful. I believe that once you start taking art in commercial terms, it ceases to be art.
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We are rich only through what we give, and poor only through what we refuse.
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Acting has always existed alongside my normal life. It's been a case of learning on the job. I've worked in so many styles, with so many people, so I've picked bits up from everyone and everything.
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I started writing regularly for 'The Atlantic' roughly around the time that Barack Obama got inaugurated.
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Laughter is a strange response. I mean, what is it? It's a spasm of some kind! Is that always joy? It's very often discomfort. It's some sort of explosive reaction. It's very complex.
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Our original name was Wild Country, but when we first went to The Bowery, they had the name of all 50 states around the edge of the club, so we went to the sign that said 'Alabama' and stuck our band name underneath it.
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Religion has been terribly tarnished in the course of time, its pristine purity has long since vanished under the regime of creed, and it is no longer Catholic, that is to say, Universal.
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In the studio, I don't do a lot of work that requires repetitive activity. I spend a lot of time looking and thinking and then try to find the most efficient way to get what I want, whether it's making a drawing or a sculpture, or casting plaster or whatever.
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Every day of my life I walk with the idea that I am black, no matter how successful I am. And our success is tempered by that; you're successful in this way given the fact you are black, and most blacks don't get to that point.
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Once you're in the presence of people who have put their lives actively on the line, repeatedly, you're never allowed to complain again. And I do, and we all do. But now I look at things a little differently.
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I was a bartender at a Pizzeria Uno's for nine years. The people I worked with were amazing, but it was quite possibly the most miserable time of my life.
