Vijay Sethupathi Quotes
We never take people seriously when they are alive, but once they are gone, we always think that we should have treated them better.
Quotes to Explore
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Any manager can do well in an expanding market.
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I was practically driven to Rome in order to obtain the opportunities for art culture and to find a social atmosphere where I was not constantly reminded of my color. The land of liberty had no room for a colored sculptor.
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Reducing carbon emissions is important, but it is shortsighted if not coupled with reducing the toxic emissions from our heart; and that is something spiritual leaders are supposed to teach and something all thinking people, regardless of their beliefs, should practice.
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I don't care to be remembered as the man who scored six touchdowns in a game. I want to be remembered as a winner in life.
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I do not have bad days. I don't wake up in the morning and think that I'm going to get AIDS. I don't dream bad dreams about it. If I did, I'd be giving in to the negativity.
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I think good radio often uses the techniques of fiction: characters, scenes, a big urgent emotional question. And as in the best fiction, tone counts for a lot.
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Opportunity knocks for every man, but you have to give a woman a ring.
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Isolation is a self-defeating dream.
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I have a classic taste with a twist, because classic never goes away.
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For me, great music doesn't just have to fall into one category or one genre and I love appreciating all kinds of music.
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Tragedy is like strong acid - it dissolves away all but the very gold of truth.
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Leeks, like other oniony things, reach a certain peak when fried. It's the subtle sweetness that suddenly becomes evident and works so well with their creamy texture.
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I only got interested in radio once I talked my way into an internship at NPR's headquarters in Washington, D.C. in 1978, never having heard the network on the air.
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I grew up thinking it was wonderful to be big and strong and to be able to knock down other children in the playground if I needed to. But I never felt the need.
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Between the ages of 18 and 20, I made three hour-long films. One was a superhero film called 'Carbolic Soap.' One was a cop film called 'Dead Right.' And the other was called 'A Fistful Of Fingers.'
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I have the necessary lack of tact.
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And they just saw me on that and - from the time I was 11 until I was 12, I guess. And then when I had just turned 13, they asked me if I wanted to tour with Johnny Cash back East.
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Without doubt, machinery has greatly increased the number of well-to-do idlers.
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I think most people try to get others to see through their eyes.
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I started playing with a group of young people when I was 13. I turned professional when I was 15 and I played dance halls, this on bass guitar.
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When other people first became aware of the cow, they expressed concern and anxiety. They suggested strategies for getting the animal out of Molly's parlor: remedies and doctors and procedures, some mainstream and some New Age. They related anecdotes of friends who had removed their own cows in one way or another. But after a while they had exhausted their suggestions. Then they usually began to pretend that the cow wasn't there, and they preferred for Molly to go along with the pretense.
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I'm very interested in compassion - compassion for oneself and others. I write about very complicated characters and experiences and try to do it without judging the character or the action.
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The holy trifecta of directing and filmmaking is character emotion, camera movement and music. When you hit those three, that's magical. That's what I'm trying to do.
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We never take people seriously when they are alive, but once they are gone, we always think that we should have treated them better.
