Florence Welch Quotes
What I really like seeing from the stage is people having their own moments, when people are doing some performance of their own.
Quotes to Explore
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If a superhero knocks over a building, and there are 5,000 people in the building that we can presume are now dead, does it matter? Because they're not people we know. But if one dog we like gets run over by a car, it's the worst thing we've ever seen. I totally understand where that visceral reaction comes from. I have that same reaction.
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I've been lucky enough to work in pop culture, especially with people right before they popped.
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My people were homesteading in Colorado before Emancipation.
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Most people don't really like to pose. It is difficult to get them to be present and relaxed under this kind of molecular scrutiny. I want them to understand I'm not simply painting them: I am painting them within a precise moment in time, as a shadow moves across their eyebrows. Then it is gone. The moment is over.
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The economic dynamic in Zimbabwe is perversely robust: while ordinary people suffer, black-market dealers and people with foreign bank accounts prosper, making them powerful stakeholders in the perpetuation of devastating economic policies.
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My favorite moments? Where it's all going swimmingly, the sun's out and I've got a fire going and a nice snake on the barbecue.
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I've lived most people's dream by playing football.
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Nobody should be too boastful or too proud about their security because there are people who have a major interest in cracking the security of networks, the security of companies.
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I try to beat back the producers and engineers so they - there's not an excess of stuff used to squeeze my voice to make it artificial. There's a person in there, and people will listen; if they hear another person speak to them, they'll listen because it's lonely out here.
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When you do acoustic shows, there's always a more intimate vibe. I go into them with lowered expectations and assume that people don't want to hear me.
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I am bullish on the global development. I am bullish on billions of people getting out of poverty.
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When we say Afro American, we include everyone in the Western Hemisphere of African descent. South America is America. Central America is America. South America has many people in it of African descent.
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This may sound trite, but bad things happen to good people, and when you're facing terrorism, natural disaster, you can have every wonderful plan in place, but I am a realist.
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Several years ago, when I was about to start a novel, I thought I might get some mileage out of the idea of a civilization in which people somehow felt - that is, they shared - all the pain and all the pleasure they caused one another.
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I believed that old people never laughed. I thought they sighed a lot and groaned. They walked with sticks, and they didn't like children on bicycles or roller skates... or with big dogs.
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You really think that on my films people tell me what to do? I don't think so. On my films I decide.
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Even during my youth, I can recall very few black people living on any kind of public assistance. People were working, doing some kind of job that was useful to the community.
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I don't believe in just ordering people to do things. You have to sort of grab an oar and row with them.
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Many of us believed that Black Lives Matter would move this country to not only reckon with white racism but to usher in new laws and practices that would curb vigilantism and law enforcement violence. But, instead, white nationalism was nurtured and began to take root among the American people.
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Bob Goodenow will kill me, but if we're going to be realistic about things, probably 75 per cent of the league is overpaid. But we're not paying ourselves. There are people giving it to us and no one is putting a gun to their heads. Something has to be done if we're going to fix this.
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The fans own the records and listen to them and love them. It becomes the soundtrack to some part of their lives, and we don't control that. To me, that's what's exciting about what we do.
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People probably have different philosophies about this, but I think that when you're first shaping the play and trying to find a character, the initial actors that develop it end up imprinting on it - you hear their voices; you hear their rhythms. You can't help but to begin to write toward them during the rehearsal process.
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What I really like seeing from the stage is people having their own moments, when people are doing some performance of their own.
