Carson Cistulli Quotes
Quotes to Explore
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An American worker should not expect his pay to be cut because somebody comes to this country illegally and is willing to work for less than he or she should be paid.
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When they offered me 'Wayne's World 2,' they said: 'We were going to give this to another actor, then we thought we'd see you'. I just thought: 'Surely you always had me in mind for that just in the way that it's written?', but they never admitted it. It was a wonderful gig to do. Really special.
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The chemotherapy was very peculiar, something that makes you feel much worse than the cancer itself, a very nasty thing. I used to go to treatment on my own, and nearly everybody else was with somebody. I wouldn't have liked that. Why would you want to make anybody sit in those places?
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We who came here saw what was happening. This was far more than a war in a faraway place. This was a moral imperative, a terrible vision of the future.
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You reach a point where you don't work for money.
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How can the cost of education be the cost of life? It is unacceptable; it is reprehensible that we have allowed it to fester.
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A politician ought to be born a foundling and remain a bachelor.
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I took a bit of a back seat, I had kids and I wanted to focus on them. There's that period in the late '90s, the early 2000s, where I didn't do a great deal.
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Sir Rodin convinced my parents to have me committed; they are all in Paris to arrange it.
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When you hear 'Truth of Touch,' I believe you recognize that it is me; however it's not the typical Yanni album.
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I am not, and have no interest in being, a musician of any kind.
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Anyone who tells you they don't need to rewrite, they're usually the ones who need it worst.
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Remember that politics, colonialism, imperialism and war also originate in the human brain.
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Go as far as you can see; when you get there, you'll be able to see farther.
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I'm sure at some point I will get back into coaching, but right now I need to focus completely on my kids.
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When I was the NIH director, I often expressed envy of institute directors: they had the money and ran the scientific programmes.
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The truth is that every writer, whether it's fiction or nonfiction, is trying to write something truly original and that's what I think I'm doing.
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My rule is, whatever you were calling me four years ago is what you should be calling me now, because I don't like it when my family or close friends call me Nicki Minaj. To me I'm not Nicki Minaj when I'm with them.
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To deny the predictive validity of race at this level is nonscientific and unrealistic.
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You can't buy time. Everything, for me, seems to be a race against time. Especially musically.
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One reason the human race has such a low opinion of itself is that it gets so much of its wisdom from writers.
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Everyone knows 'Smash' is about musical numbers, and everyone knows we have fantastic dance sequences and great performances.
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As far as my part in it is concerned, it began one night in the fall of 1956 in Lexington, Kentucky, when I walked into the Zebra Bar--a musty, murky coal-hole of a place across Short Street from the Drake Hotel (IF YOU DUCK THE DRAKE YOUR A GOOSE!! read the peeling roadside billboard out on the edge of town)--walked in under a marquee that did, sure enough, declare the presence inside of one 'Little Enis,' and came upon this amazing little stud stomping around atop the bar, flailing away at one of those enormous old electric guitars that looked like an Oldsmobile in drag--left-handed!
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Race ain't nothing but a number.
