Red Skelton (Richard Skelton) Quotes
Quotes to Explore
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It takes three to make a child.
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I worked at the American Conservatory Theater in San Francisco, lived there for three years, and lived in Baltimore for 12 years.
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I think the three Mexican directors - Alejandro Inarritu, Alfonso Cuaron, Guillermo del Toro - gave all of us foreign, and particularly Latino, directors a big break.
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I tend to be the type who is overly polite and sort of ingratiating to other people.
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We can't afford to go lose two, three in a row. We've got to keep climbing and getting wins.
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I went with Lionel Hampton for three years. Out of that came a trip to Europe.
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Let my enemies devour each other.
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In the jungle, every day is like the other. So you need to have a special discipline to make things different and to keep in your memory the dates and the days. And I think that's something that's very important when you are held hostage.
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I've been close to two or three couples, gay and straight, who have been together for 45 years.
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If you are an Arabic-speaking, Greek-Orthodox going to a French school it makes you deeply sceptical if you have to listen to three different accounts of the Crusades - one from the Muslim side, one from the Greek side and one from the Catholic side.
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One out of three jobs in Washington is tied to trade.
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Literature is memory written down. All literature is memory.
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A politician should have three hats. One for throwing into the ring, one for talking through, and one for pulling rabbits out of if elected.
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You're trying to put yourself in that moment and trying to prepare yourself, to have a 'memory before the game. I don't know if you'd call it visualising or dreaming, but I've always done it, my whole life.
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My first taste memory is pickle. Even as a kid, I was really weird. I liked chillis. I used to climb up the shelves in my grandmother's pantry. The pickle jar was kept right at the top. One time, I dropped the jar and it broke. I was totally busted.
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I've written three books you could think of as memoirs.
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I'll often get obsessed with something for about three days, and I'll be utterly into it, and I'll read every single thing about it possible. And then three days later, I'll just forget about it, and I'll be onto something else.
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I think one of the primary themes in my work is the paradox of memory, at once fundamental to our sense of who we are and yet elusive, ever-changing, fragmentary. One way to look at this is to say that, therefore, we ourselves are elusive, ever-changing and fragmentary to ourselves.
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Never let the fear of striking out get in your way.
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Love wasn't possible in just a couple of days. Love could be set in motion quickly, but true love needed time to grow into something strong and enduring. Love was, above all, about commitment and dedication and a belief that spending years with a certain person would create something greater than the sum of what the two can accomplish separately.
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The fact that the movement was carried on by women who, for the most part, had no money of their own and were totally inexperienced in organization, and that they won their fight in about two generations, makes a story often dramatic and always worth preserving.
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I love to dress up and create a narrative with my look.
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I am Parisian. I don't love the French.
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There are three signs of old age: loss of memory ... I forget the other two.
