Ralph Fiennes Quotes
Quotes to Explore
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The connection I make with being young and growing up is, like, the feeling of not being crushed by the world. Having an idea, thinking you can do it.
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There is a healthful hardiness about real dignity that never dreads contact and communion with others however humble.
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Sitting on a bedroom floor crying is something that makes you feel really alone. If someone's singing about that feeling, you feel bonded to that person.
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Being bi-racial and being from the country, I can talk to guys like Travis Frederick from Wisconsin and Doug Free from Wisconsin. And then I can go over and talk to Dez Bryant. I mean, think about the two different standpoints you need to have a real conversation with both, to really understand what they've been through.
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When I write for kids, I have to make sure they know what can't happen. They have to know it's a fantasy. But when I write for adults, they have to think it's real. Every detail has to be real or they won't buy it.
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I always had a feeling when I was a kid that I didn't really know what was going on. Everybody else knew stuff that I didn't know.
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From the stage, I can reach a large audience, and you learn from being on stage how much a song reaches, what extent of the crowd a song can reach. I write in a way that can reach most of the audience, but I also wanted to have truly intimate moments as well, many intimate moments, more so than the big moments.
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I was raised in the Baptist church... but I didn't really have a real committed experience with Christ until my father died.
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I guess if you have an original take on life, or something about you is original, you don't have to study people who came before you. You don't have to mimic anybody. You just have a gut feeling inside, an instinct that tells you what's right for you, and you can't do it in any other way.
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I had been feeling a little rum. I didn't think it was anything serious because years ago I felt a lump and it was benign. I assumed this would be too. It kind of takes the wind out of your sails, and I don't know what the future holds, if anything.
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I bought the rights to this book, 'The Ploughmen,' by a Montana writer named Kim Zupan, and I've written the screenplay, and I really feel pretty strong about it. It's really hauntingly beautiful. It's got some suspense and great drama, but it's a real character thing.
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With modelling, you provide an image that is fake; with acting you have to provide an image that's real.
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When we talk about communities, we seldom discuss the margins. But for every person nestled comfortably in the bosom of a community, there is someone else on the outskirts, feeling ambivalent. Ambiguous. Excluded. Unwilling or unable to come more fully into the fold.
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There's a market for mysteries for adults. That feeling of opening a book and delving inside and not coming out until you've closed the book.
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The real composer thinks about his work the whole time; he is not always conscious of this, but he is aware of it later when he suddenly knows what he will do.
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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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It had always been a dream of mine to come to New York to work. Coming to New York and looking for work is one thing, but coming to New York and already having a job and feeling like you are already part of the city has been an amazing experience for me.
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You dread that there will be real problems during filming.
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I'd rather be real and hated, than fake and loved.
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FDA clearance is an important step on the path towards getting genetic information integrated with routine medical care.
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With myself, how to pass time becomes sometimes the question - unavoidably, though it strikes me as a thing unspeakably sad in a life so short as ours.
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Every Englishman is convinced of one thing, viz.: That to be an Englishman is to belong to the most exclusive club there is.
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Little moments can have a feeling and a texture that is very real.
