James Nesbitt Quotes
Quotes to Explore
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We will always make music, but Die Antwoord is... finite.
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Retiring for good wasn't difficult. I knew at the time it was right. I was no longer capable of achieving the standards I'd set myself and there was no light at the end of the tunnel.
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The power of Twitter still never ceases to amaze me.
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I went to this one in Ohio, and then I became a counselor there, and it was just the most fun thing. I was so depressed when I came home from camp.
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I love the look of full brows that aren't perfectly done - eyebrows on fleek: that's the goal.
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When I get into the studio, I write from my heart.
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I write almost entirely in bed or on a couch with my feet up on the coffee table. I feel most creative when I'm looking out the window, and my bed and couch have nice views of the New York skyline.
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I never wanted to be a millionaire. I just wanted to live like one.
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I've decided to run for the U.S. Senate because I believe Wisconsin families need a senator who will work hard to deliver results for the middle class - a leader with the courage to do what's right, no matter how tough the odds or how powerful the special interests we have to fight.
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It's something that I do every year - every Ramadan to be exact - taking an 18-hour flight back home to Malaysia from Los Angeles. I'm born and raised in Malaysia, and Ramadan and Eid has always been my favorite time of the year.
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I'd love to live in Ireland but I'd like to live as me, not what someone thinks I am. People don't understand - I lived there before I was famous.
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My aunt is the director of the acapella group Black Voices. I was so struck by them as a child. They sang with such passion and conviction. By the time I turned 15, I had plucked up the courage to ask if I could join the group. Acapella is a different discipline from singing with an accompaniment - it is much more exposed.
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The No. 1 cause of forest fires is trees.
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I believe in holiness and sacredness in other people. It doesn't mean that the clouds part and I see God. That's a juvenile way of thinking about it.
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I had such an amazing experience on 'The Pillowman' that it was hard to think what else is going to live up to that.
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An idea that is not dangerous is unworthy of being called an idea at all.
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I don't use my body to seduce, no. I just stand there.
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If I didn't have my profession, I think I would be sitting in a nuthouse. But I have been unceasingly at work, and this has been very healthy for me. So I had no need for therapy.
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Oddly my name has been no professional help at all! It seems to have made no difference. I admire him hugely, both for his benevolence and his enormous psychological perception.
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At best, the relationship between drama critic and playwright is a pretty twiggy affair. When I'm asked whom I write for, after the obligatory, I write only for myself, I realize that I have an imaginary circle of peers - writers and respected or savvy theatre folk, some dramatic writers and some not, some living, some long gone. . . . Often a writer is aware as he works that a certain critic is going to hate this one. . . . You don't let what a critic might say worry you or alter your work; it might even add a spark to the gleeful process of creation.
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Bergdorf Goodman is positioned at the very top of the luxury pyramid, and I think that as we go through this next phase of renovation, we're going to elevate it even further.
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The interesting thing about the TLC network is that they were interested in following me, not leading me.
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A jam means it's not structured - let it go. Let it go here, let it go there.
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Something about theatre perhaps scared me.
